Binding Agent ****

An unconscious man is tied to a chair. There’s another chair with restraints next to him. Alongside the chairs, incongruously, there are various kitchen items, including a blender. It’s not unfair to wonder what’s going on – and in Binding Agent the questions continue to mount.

Simon (Sam Hill) comes around, discombobulated. It transpires he had been abducted in a street by means of chloroform. A man, Herne (Joseph Reed), observes him.

Simon instinctively believes that this must be a case of mistaken identity; after all, he is neither wealthy nor important. He is encouraged in this train of thought by Herne confusing similar names; however, any hopes that this may result in release are dashed when suspicions take hold that Herne is merely toying with him. He offers Simon a fresh smoothie.

A second hostage is brought in and similarly restrained in the other chair. Annette (Matilda Tucker) teaches languages in a school and is equally perplexed.

The pair endeavour to understand their captor, but he remains inscrutable and unpredictable. Herne’s erratic behaviour is unsettling, his intentions impossible to read, as he holds court in an intricate game of cat and mouse. Their various attempts at negotiation, charm and bribery have no impact. In fact, Herne weaving between lucid intellectual argument and psychobabble continues to render them disconcerted and disoriented.

The arrival of an alleged plumber (Megan Cusack) serves only to heighten their anxiety, as she appears to be comfortable around Herne and, they suspect, deliberately misunderstands the situation which she encounters.

This dark comedy, written by Harry Smithson, places ordinary people in an extraordinary situation and the stakes are incontrovertibly high. The hostages’ balance is continually thrown by the erratic, but obviously intelligent, captor.

Yet the play’s ultimate meaning remains opaque. There are hints of a political allegory woven throughout; as the helpless captors turn on each other, ideas of ‘divide and rule’ come to mind.

The performances are all strong, especially Tucker who convincingly plays her character's intentions. Reed's erratic menace punctuates the dialogue, although the sense of missed opportunity to find greater moments of stillness lingers. The writing is good, albeit underdeveloped at the finale. Chris Yarnell’s direction wavered at times, the combat scene especially needing finesse, but the pace was very well-judged. This is, however, a most interesting production.

Indeed, it feels like there is more to come – both from Binding Agent, but also from the creatives that make up the Shambles Ensemble team.