Mercury Fur, 3-4 Picton Place, W1 | Theatre reviews, news & interviews
Mercury Fur, 3-4 Picton Place, W1
Philip Ridley’s shockfest is brilliantly written and fully imagined
Imagine a future, a near future, in which gangs of teenage boys roam the deserted streets of the metropolis, selling hallucinatory butterflies and organising parties in squats for rich clients who have extreme tastes in sexual abuse. Imagine. This is the vividly conceived sci-fi world of Philip Ridley’s Mercury Fur, first staged in 2005 and now revived in an old London office block by the thrilling fringe company Theatre Delicatessen.
The story concerns two teenage brothers, Elliot and Darren, who help the gang leader, Spinx, organise extreme parties in which a Party Guest acts out his violent fantasies on an underage Party Piece, and then videos the gut-wrenching action. It is a survival strategy in a collapsing world. Elliot and Darren are a study in contrast: while Elliot is pretty together, and moves through this blasted landscape with grace and intelligence, his brother is a drug-addled loser, his brain eaten away by addictive hallucinatory drugs.
As Elliot and Darren prepare their sordid party, Spinx arrives, and events begin to spin out of control as several unwanted visitors come onto the scene: Naz (a local boy), the Duchess (the brothers’ mother), and Lola (Elliot’s transvestite lover). With a countdown in place towards a terrifying deadline, all the elements of this fierce drama gradually slot into place.
Ridley’s 120-minute shock-fest, which caused a huge uproar on its first outing as some critics condemned its author for having sick fantasies, is brilliantly written and fully imagined. Without ever being preachy, Ridley shows how our identity depends on keeping a grip on historical truth and how we create, and recreate, reality by telling stories about it.
If some of these stories are horrific (there’s a very unpalatable one set in a supermarket where a machete-wielding gang of looters massacre mothers and kids), then surely this is because war and violence are themselves horrific. Ridley refuses to glamorise violence and the terrifying party that the lads are organising is really just a logical extension of some men’s fixation on violent pornography. Yes, this is a challenging mix of sensation and repulsion.
Partly a state-of-the-nation play, and partly a study of family relationships under extreme pressure, Mercury Fur is a modern-day classic whose language blisters and blazes across the stage, and whose intensely felt imagination burns up the brain cells. Staged in a disused London office block, at the side of Selfridges, the play begins with a creepy ascent up some dodgy stairs and through a gloomy corridor into the room where the horrors take place. Uncomfortable seats keep the audience on edge throughout.
Atmospherically directed by Frances Loy, and designed by William Reynolds, this version fields an utterly committed cast led by Matt Granados as Elliot, Chris Urch as Darren, Ben Wigzell as Spinx and Mikey Bharj as Naz. With its bleak humour, and powerful sense of foreboding, this is a dangerous, intense and occasionally excruciating piece of experiential theatre. It is not family viewing. You stumble out of this dark and hellish world, gulping the fresh air of the night, and mighty glad to be alive.
- Book for Mercury Fur at 3-4 Picton Place, London W1 until 13 March
- Philip Ridley's Mercury Fur text on Amazon
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Faithful, inventive staging of CS Lewis's Christian allegory
Caryl Churchill play about death comes close to being DOA
Strong women and one weak man in Ibsen's swift study of isolation and guilt
Phileas Fogg is off on his travels at St James Theatre. Its author explains what's new
This late romance is fairytale-charming, but its comedy is overpowering
A bit of everything in theartsdesk's stage tips
Wallace Shawn's latest is funny, forbidding - and worth figuring out
The successor to 'The 39 Steps' is another sublimely silly send-up
Jamie Lloyd's bold production makes Pinter freshly unsettling
New RD Laing drama is a surreal tribute to a great 20th-century thinker and radical
A husband and father goes to seed in Robert Bolt's first play
Astonishing new show from master illusionist