“A highly creative and well acted piece.”

Editorial Rating: 3 Stars Nae Bad 

Outside of automobile tragedies and prom night, there’s not a huge amount you can do in seven seconds. You can run until you’re nearby rather than right here, and if you’re fast you can even stretch it to just over there. You can half unbutton a coat, and, if you’re anything like me, you can get 1/75 of the way towards choosing which brand of soda to buy.

Or, if you’re rapidly leaving the breathing population, you can relive all the mistakes you’ve made. So that’s a comforting thought.

The Seven Second Theory is an interesting but fairly self-explanatory premise: a man named John Doe (Theo Antonov) is about to have his life support switched off, and goes on a journey through his own memories in the brief seven seconds before brain death. His memories include those of his best friends Aaron (Joe Davidson) the infuriatingly spelt Jenni (Megan Good), as well as the love of his life, Katherine (Sophie Hill).

The main cast are undoubtedly talented performers. Antonov makes the feat of being onstage for the show’s duration look (almost) effortless, and his machine-gun delivery adds a facet of charm and vitality to his John Doe. Good, pulling double duty as writer and actress, creates a highly empathetic and relatably charming stage presence as Jenni, layering a good heart with a layer of acid which is hard not to be charmed by. Sophie Hill, despite the occasional lull in physical engagement with the scene, does an excellent job at portraying the struggles of success, embodying the constantly-working Russel Group brainchild to a tee. My standout, however, is Davidson: constantly empathetic, always reacting in the background, and all-around a rippingly strong portrayal of a character who is stung by despair amidst joy.

Supporting characters rotated amongst a chorus (Sabrina Miller, Emma Rogerson and Charlie Graff), who were simply delightful. Despite a few quick character vignettes which, forgivably, seemed underdeveloped, they make a wonderful team. Many of the show’s best lines come from their corner of the acting ring, and their range is something to be respected.

With the above in mind, I remind you that The Seven Second Theory is a comedy. Blacker than black, but comedy nonetheless – and for the most part, the show quite handily succeeds in that regard. Most of the jokes are dropped with precise and well-rehearsed timing, with just enough punch behind them to punctuate the scene. The material isn’t particularly groundbreaking stuff as far as the general regrets of mortality are concerned, but it’s certainly enough keep you waiting for the next one liner. Antonov in particular is sharp as a pin, though every cast member shines.

As for the narrative, without giving too much away, it’s the same story as the above. The framing device is dramatically succinct, the banter and conversations sounds realistic and endearing, and each scene beat feels exactly in its place. However, don’t come in looking for surprises: much like its comedic material, the messages and narrative themes (whilst undoubtedly well executed and well conceived) remain fairly pedestrian. The Seven Second Theory has some really interesting stuff to say about the foibles of human want, but it’s nothing you wouldn’t expect to hear.

And whilst its separate components of comedy and tragedy work well enough on their own, The Seven Second Theory seems to have real difficulty in the switch-between. In trying to cram so many different emotional beats into what is a fairly modest runtime, what emerges is a kind of tonal soup. There is no spared moment to settle into the despair, to come down from the laughs. This is a show that would greatly benefit from slowing itself down, and learning not to fear silence.

The great tragedy of these tonal problems is that, coupled with an unfortunate case of “shouting means drama” syndrome, when emotional pay-off arrives it can come off as mawkish or forced. As a production that relies so much on the internal lives of its main characters, this seriously undercuts the comedy’s dramatic counterweight.

To end positively, though, a place where The Seven Second Theory shines (literally) is in its stage design. I am enamoured with it: dramatic, effective and imaginative. The use of lanterns both as a light source and guiding prop is inspired, and goes a long way in giving the minimalist set design a real feeling of boundary and weight. Their use and presentation in the show elevates the sense of magical-realism which is always gnawing at the sides of the narrative, and lends it an appropriately dream-like atmosphere.

The Seven Second Theory is a highly creative and well acted piece, held back by elements of its direction and themes. For better and for worse, it’s a show that leaves you wanting more. Is it worth your time? Entirely, but it won’t change your life. The process of staging new writing is constantly transformative, and this is no exception – with revisions, Megan Good’s work could be something truly special.

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Reviewer: Jacob Close (Seen 6 August)

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