This play by Alexander Raptotasios brings together to rough essence of the Athenian tragedy and the Shamima Begum case. Although not very cohesively realised this new work does challenge and elicit thought and debate.

Through 90 minutes we follow the case of the fictitious Esme’s case for repatriation after she joined a terrorist organisation at the age of 14. Instead of focusing on Esme (Hanna Khogali) we follow the drama through various perspectives back on home soil. Primarily her sister, Antiya [Hiba Medina], who goes on hunger strike to sway public opinion and also through the eyes of Creighton (Phil Cheadle), a career hungry politician. To link the two worlds together Eammon (Creighton’s son played by Ali Hadji-Heshmati), forms a relationship with Antiya and thus we have both familial and political dramas. This does feel like an uncomfortably shoe-horned device however and doesn’t seem to ring true.

We are promised and interactive performance, all being given keypads (much like those used in Quiz) to vote on various questions throughout the show. We are told our decisions may affect the run of the drama however, this feels more like an idea in development rather than a finished product as we are left wondering how, or even if, our choices (projected in pie charts on the set after voting) actually have any effect on the drama we are watching. If anything, rather than immerse us in the performance, these occasional questions feel to interrupt the play which becomes more a series of scenes rather than a cohesive flowing drama.

Entering the space we are greeted with a traverse playing space, with audience seated either side of a crisp white replica of the house of commons. This clever and simple design by Marco Turcich effortlessly conjures up images of ancient forums, drama and politics of the classical world with it’s crisp white columns and also the very present political drama we see broadcast almost 24/7 with parliament broadcasting. Through projection on the centre of the set we visit various other locations from rooftops, to protest spaces but unfortunately these never truly feel authentic.

Projection is used throughout the show to varying effect. The difficulty of the traverse space means sight lines for many of the pie-chart statistics and video calls are compromised for some audience members and the orientation of some projections leave us feeling displaced as spectators. Special mention has to be made to Hiba Medina who gives a sterling performance as Antiya. She manages to find the truth in every scene and interaction, which could be tricky in the hands of a less skilled performer.

The show has the makings of a great piece of statement theatre but still needs a lot of work to get there. For those with an active interest in the subject matter it will be worth a ticket.

Playing at The Park Theatre until 22 February.

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