Plymouth Theatre Review

Title: ‘Continuous Partial Attention’

Venue: The House, Main Stage

Date: 31st May 2024

Overall Rating: 5

In a world where technology continuously beckons for our attention, the concept of Continuous Partial Attention (CPA) becomes ever more relevant. CPA, unlike simple multitasking, involves an ongoing and heightened state of awareness where the individual is constantly scanning for opportunities and stimuli but never fully focusing on any one thing. It is a pervasive phenomenon in our modern society which makes for a compelling subject for a theatrical exploration and performance. Crooked Billet Theatre’s production of the same name masterfully delves into this theme head first, presenting a show that is technically innovative as well as a marvel of ensemble performance. This show is a rollercoaster ride of nuanced writing, skilful direction and impeccable acting that fuses together to create an unforgettable theatrical experience. Written by Dylan Harvey and directed by Harvey and Damien Pyne, this masterful exploration of life in our hyper connected society brings the concept of CPA to the stage through episodic scenes, sharp writing and innovative use of multi-media, to offer a captivating commentary on modern existence. 

From the moment the performance began, it was clear that this was not going to be your average play. The set was minimalistic, featuring only some chairs placed across the stage and a camera set up on the right hand side. At first glance, one might worry that such simplicity would detract from the performance, however, any such concerns were quickly dispelled. The sparse set became a blank canvas for the actors, who brought the stage to life with their dynamic and dedicated ensemble performance. The simplicity of the stage set up was counterbalanced by rich multi-media elements integrated into the piece. The camera set up was accompanied by another camera filming a live stream from above, allowing the audience to see a birds eye view of the stage and action as well as a view of the stage from the on stage camera. These cameras captured the action in real time, projecting the footage onto a large white backdrop. This not only enriched the visual experience and gave the audience three focal points to view the performance from but also reinforced the theme of omnipresence observation in our digital age. The camera mounted on the roof was particularly clever, offering the audience a different perspective to what they could see on the stage, which added a layer of depth and dynamism to the narrative and emphasised the feeling of being watched and recorded. This was an innovative nod to the surveillance driven state of society today and the loss of privacy that often characterises modern life. The technical execution was flawless, with each camera angle and projection meticulously timed and positioned to enhance the storytelling without overshadowing the performance itself.

The acting in this production was nothing short of phenomenal, hence the group being nominated and subsequently winning the Plymouth Theatre Review award ‘Collective Brilliance’ for the best ensemble performance. Each actor displayed a level of dedication and precision to each character they played and they worked together as a cohesive unit to deliver a standout performance. The entire cast functioned as a true ensemble with each member contributing to the fast paced and chaotic style of prose, each bringing an energy and cohesion to the spectacle. Their chemistry together was palpable, and it was evident that they had spent considerable time and effort in honing their interactions with each other and making sure the timing of the piece was fast paced and chaotic, flitting from one idea to the next, without coming across as confused or disordered. The fluidity with which they moved from scene to scene and character to character, without the need for fancy stagecraft or set changes kept the energy high, the audience on their toes and thoroughly engaged throughout. While every actor in this performance displayed notable skill and passion for their craft there were a couple of standout performances that deserve a special mention. Emma Diamond delivered a stellar performance, showcasing her versatility, playing multiple roles with distinction and conviction. Her emotional range was on full display during the monologue discussing a child drinking petrol which was intensely emotive and moving. Diamond’s ability to switch between her characters portrayals  seamlessly is a testament to her talent and dedication to her craft. Jay Greaves ‘interval performance’ also deserves a special mention, not least due to their special skill in drinking so many cans of fizzy drinks in such a short space of time! Greaves bridged the gap between the first and second half of the performance by not really doing much at all, but in the not doing much, a lot was actually said. This was a perfect juxtaposition between the hectic style of the performance and highlighted the main themes of the show in a stable way. By removing the two camera feeds and allowing focus to remain just on one person (who was just siting and drinking from a can)  the director has again highlighted the chaotic an multifaceted nature of our existence today by stripping away the other things that usually grasp out attention on the stage and allowing our attention to be undivided for a while, in a show where our divided attention is a main theme, and we are required to be fully present in the action.

The direction in the piece was outstandingly detailed and adept at weaving the themes of CPA throughout each scene. Harvey and Pyne’s vision was clear and precise, utilising every element (from the actors movements to multimedia aspects) to underscore the central themes. The pacing was brisk yet never felt rushed, allowing each scene to breath and resonate with the audience on its own terms. The transitions between character and scene were also handled with finesse and skill, maintaining the flow of the narrative and keeping the audience fully engaged from start to finish.

The writing was another standout aspect of this show. It was clever and nuanced, fast paced and chaotic, jumping from one idea to another and expertly capturing the essence of CPA in a way that was captivating, thought-provoking and relatable. The dialogue was sharp and witty, with each line crafted to perfection to reveal deeper layers of the characters, their relationships and stories.The fast paced nature of the script mirrored the frenetic energy of contemporary life, while the more contemplative moments provided a counterbalance, allowing the viewer to reflect and consider the implications of our divided attention on our lives and interactions. 

Crooked Billet Theatre has set the bar high with this production. They have demonstrated how ensemble performance can be both nuanced and powerful, delivering a narrative that is as intellectually stimulating as it is emotionally compelling. The combination of first class acting, insightful directing and masterful writing has resulted in a show that is not only entertaining but also deeply relevant to the times we live in, so it’s no wonder this show was nominated in several categories for the Plymouth Theatre Review ‘Mayfest Awards’. This production really is a triumph on all fronts. It skilfully explores the complexities of CPA through a carefully crafted series of episodic scenes while introducing a wide range of characters brought to life by an extraordinary cast whose collective performance made for a truly captivating evening of theatre. Crooked billet theatre has delivered a profound commentary on the nature of attention in the modern world and this production stands as a shining example of what theatre can achieve when every element is executed to perfection making it a must see theatrical triumph that is abundantly deserving of its 5 stars and award nominations.