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Shocking, jarring, and controversial are all words used to describe “Mercury Fur” when it opened at the Plymouth Royal Theatre in 2005. Phillip Ridley’s tale of an apocalyptic world under siege disgusted viewers and made several critics walk out of the theatre.
Not so with the current production at The Garage Theatre. This production directed by Cat Elrod is no less disturbing, but all of us critics stayed put. The original material is set against the backdrop of a dystopian London and a party at which torture and murder is the central axis.
Elrod has relocated it to Long Beach, and the setting by Rob Young convincingly transports us to an abandoned house that feels just a few blocks from the theatre. Unfortunately, there wasn’t enough change in the dialogue, besides place names, to convince us it isn’t a British play. Words like torch instead of flashlight are giveaways.
But who cares! I certainly don’t! This gut-wrenching piece of Jacobian Violence meets verbal Grand Guinol meets Absurdism is riveting. It’s a 17-year-old play that is still timely. With the Supreme Court reversing 50-year-old decisions and school shootings back after a brief pause due to a global deadly pandemic, real life feels surreal at best most days.
I can’t reveal more of the plot, and I am torn. This is a review, not a scholarly paper, and I must focus on this production. I will tell you that casting plays a key role in helping keep us in our seats and able to watch the play. In London choices were made that saw people bolting from their chairs. You can Google why, I don’t want to ruin it if you’re the adventurous type.
Casting alone, however, couldn’t have kept me in the theatre for the duration of the hour and 45-minute one act; solid performances did. Assembled here are skilled beings exuding the type of engrossing and horrifying performances that haunt sleep.
David Daniel as Elliot and Vincent Zamoraas as Darren have developed an incredible relationship that holds the piece together. Playing brothers whose relationship echoes the friendship of Lenny and George in “Of Mice and Men.” There is a deep sense of love and brotherly hostility that rules their performances.
Equally bonded and traumatized is the relationship between Jeffrey Benion as Spinx and Jenny McAfee as the Duchess. These two have forged a sweet and complex intimacy that allows these two actors to shine with a crimson light.
Elli Luke as Lola and Leigh Hayes as the Party Guest also strike at your senses like an electric shock. Elrod throws the switch and the current just gets turned up higher and higher, by playwright, director, and actors over the course of this short piece. It is not for the squeamish or faint of heart.
It is not for those who want delightful distraction. It is a tale of warning hailed 17 years ago that we may be too late to heed. I hope not, though. I hope that enough of us can look up from our deadly distractions before we have to protect our loved ones in the worst way. Because as Shakespeare said, “These violent delights have violent ends
And in their triumph die, like fire and powder,
Which as they kiss consume.”
Mercury Fur continues through July 23 at the Garage Theatre, 251 E. Seventh St. Tickets available online at www.thegaragetheatre.org.
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