Combining the intensity of a psychological thriller with the power of a theatrical poem is an intriguing notion, but
CUT is an intense theatrical experience that is unpredictable, exciting and completely nerve-wracking
The more this production grips you, the more you question what to believe. Solo performer (Hannah Norris) drags you into her world, leaving the question open: is she really in danger, or is it all an elaborate fantasy? Norris delivers an unfaltering performance that pulls you into her mindset. She masterfully switches between a cheery exterior as an air hostess to a hysterical panic we can see building up in side of her. We see a whole showcase of Norris's abilities: her unsettling creepy demeanour, the frantic energy of her fear, and even hints of sadism that are often disturbing to watch. As Norris dominates the space, sitting in the audience becomes as tense as watching a live bomb, waiting for the explosion.
Space and lighting are used very well to maximise the tension of the piece. We enter a glaringly white studio with warm lighting as Norris addresses us with a big smile, lulling us into a false sense of security before we are plunged into darkness. Static noise is all we can hear as we find ourselves longing for the comfort of light again. CUT is totally unsettling from the start and the technical side of this production really brings the tension to life.
Suspense is vital in a production like this, and though it never disappears entirely, after a while we do become accustomed to the blackouts and sound effects and begin to expect a similar transition. These are still effective, but it only takes so long for us to normalise what’s going on.
CUT is an intense theatrical experience that is unpredictable, exciting and completely nerve-wracking, though it loses its novelty as time goes on. For as long as it can, it should have you on the edge of your seat.
