For their 30th anniversary production, Frantic Assembly has collaborated with Bruntwood Prize-winning playwright Anna Jordan to create a visually dynamic and emotionally charged memory play which, above all else, is a drama student’s dream to sink their teeth into. This production is a celebration of everything Frantic Assembly is known for: bold physicality, inventive staging, and emotionally resonant storytelling- while also showcasing Jordan’s distinctive voice and flair for character-driven drama. 

Directed by Artistic Director of Frantic Assembly, Scott Graham, the play follows Robbie (Joe Layton) and Jess (Hannah Sinclair Robinson) through the fragmented realities of their relationship. The narrative unfolds in a non-linear fashion, echoing the disjointed nature of memory itself, and leaves the audience contemplating not only the characters’ lives but perhaps their own existence. It’s a piece that lingers- inviting introspection and emotional reflection. 

Jordan’s writing, as in her other works, is visual, unrelenting, and deeply human. Her ability to move seamlessly from witty one-liners to harrowing, emotionally raw dialogue is sublime. She takes the audience on a journey that is both intimate and expansive, allowing us to feel every beat of the characters’ emotional landscape. The cast of this two-hander are phenomenal. They each give their all to their role, allowing the audience to immediately connect to the characters. What they deliver is more than just a believable portrayal- they are fully realised, relatable individuals, written with depth. 

The physicality of this demanding production seems effortless to the pair. Their navigation of the multifaceted set by Andrzej Goulding- often without the aid of a harness- is a testament to their skill, trust in each other, and commitment to the process as a whole. Goulding’s design is a captivating vision: a towering filing cabinet that the cast traverse with ease, unlocking drawers to reveal the contents of the past. It’s a clever metaphor for memory and trauma, and it dresses the scene without ever becoming a gimmick. 

Stylistic lighting design from Simisola Majekodunmi brings the piece to life, allowing even the less engrossing parts of the play to draw the audience in with its intriguing presence. When combined with Carolyn Downing’s sound design, the technical elements predominantly assist in boosting the piece’s fluidity and emotional rhythm. Although there are occasional moments where scenes of movement feel elongated or slightly contrived, overall, the production is memorable, heartfelt, and delivered with an authenticity that some plays may lose when tackling the complex themes Lost Atoms offers. At its best, it’s truly a vision to behold.  

Lost Atoms plays at the Playhouse theatre in Liverpool until Saturday 18th October. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Tristram Kenton.