Who to Call When the World Starts to Implode (And You’re Crying at Tesco at 11am) brings big feelings and bigger chaos to the Camden Fringe.
Written, directed, and co-produced by Gabrielle Hofmann, with music composed and directed by Ciara Cogley, who also co-produces, Who to Call When the World Starts to Implode (And You’re Crying at Tesco at 11am) has combined a large creative team to deliver a compelling modern-day love and heartbreak story. The creative team is completed with Habil Yaldaz (Intimacy Director), Laura Sheridan (Set Designer), William Moses (Stage Management and Lighting Designer), Arne van der Esch (Sound Designer and Assistant Producer), and Karol Stanisz (Assistant Producer).
The story at the heart of the show is particularly relatable to anyone who has come to the UK in search of opportunities, as well as those close to them. As an immigrant myself, the story resonated with me, and I think it portrays some of the difficulties foreigners can experience when they come to the UK. These include the pressure to overperform, the expectations of the people you left behind, and the feeling of being torn between your home country and the country you now consider home.
The two-person cast consists of Nil Uzer and Chloe Payne, who play Isabel and Sophie, respectively. They are both brilliant in their roles, clearly conveying their characters’ individual struggles. Their chemistry is also undeniable. Uzer stands out for the intensity she brings to her portrayal of Isabel. Her acting feels genuine and is particularly effective whenever her character’s frustration, vulnerability, and uncertainty come through naturally.
A special mention also goes to the show’s set, lighting, and sound design. The slightly chaotic yet beautifully curated set gives the audience a glimpse into the story before it even begins to unfold. The papers relating to graduate and talent visas, in particular, communicate some of the anguish felt by Isabel. Likewise, using sheet music from some of the show’s original pieces as decoration on the wall is a fantastic touch.
The lighting and sound design are equally effective at conveying elements of the story. Changes in lighting help the audience understand whether a particular scene is actually happening or forming part of Isabel’s inner dialogue. Similarly, the outgoing phone-call sound subtly hints at the ending of the story from the very beginning, which was very clever.
We saw the show on its final performance as part of the Camden Fringe, although the director mentioned that the show will return to Barons Court Theatre next year. We wish all the best for the cast and creatives in the future.
Complimentary tickets were provided.
Gonzalo
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