Review: Snapshot, at Hope Theatre
George Johnston’s punchy play – tackling modern sexuality, personal value, professional ethics, inherited wealth and nepotism – is well staged and well acted
02 June, 2017 — By Adam Dolan
Will Austin in Snapshot
WHAT isn’t for sale, or at least for rent? What price would you pay to get what you want? These are questions at the core of George Johnston’s first full-length play.
James, a young, attractive Dubliner, is attempting to break into the London artistic scene. A photographer by ambition, James finds himself caught in an increasingly tangled web of his own making – trying to moralise and consolidate relationships with his banker boyfriend Daniel, James’s potential patron Frank, and Olivia, James’s ex-girlfriend.
The pacing is swift, but at the expense of depth. The play attempts to touch on so many topics (modern sexuality, personal value, professional ethics, inherited wealth and nepotism and co-dependency, to name but a few) that it barely has a chance to do more than brush lightly against a concept before jumping to the next.
The most enjoyable aspect of Snapshot is the insightful, amusing reference to fringe theatre conventions and archetypes, though these are tragically infrequent.
It is by no measure a bad play; it’s well staged, well acted and the dialogue is punchy and naturalistic. Though it doesn’t break any new ground, Snapshot capably navigates a well-trodden path, and entertains along the way.
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