Persona ***

Persona is set in a remote country house: a will is to be read, invitations have arrived in somewhat mysterious circumstances, communication with the outside world is impossible, and the host is unpredictable. It all seems to echo Agatha Christie.

The host is James (Max Allen). He is fussing over a dining table, yet many of the expected accoutrements are conspicuously absent. Perhaps he’s an inexperienced host.

When Geoffrey (Elliott Diner) and Rupert (Cameron Forrest) arrive, there’s something palpable in the air. They are old acquaintances, yet there is little warmth and James is the butt of the jokes. The quartet is complete once Gemma (Polly Towers) breezes in, bringing with her a sudden frisson of sexual tension that shifts the mood once again. They all know each other from boarding school.

James has recently seen active army service overseas, disclosing that he has killed people. His hosting behaviour is erratic, fragmented and unrefined. A tortured soul with limited social skills? Despite the visitors’ outward confidence, this lends proceedings an uneasy air.

James is trustee and the executor of Justin’s will and, in accordance with instructions, has assembled them for its reading. James had been Justin’s best friend, killed in front of him.

After some prompting, and still with no sign of dinner, James gets to the will. If those present from the class of 2019 unanimously agree a division of Justin’s sizeable estate by midnight, they will receive 80%, with 20% going to James. If they cannot agree, 100% goes to James.

Suddenly, rather than Christie, this echoes the ‘Blackmailer’s Paradox’, in which protagonists can adopt a rational or irrational position.

Discussions regarding possible splits inevitably unfold, revealing divisions, concealed truths and conflicts, both current and historical. The backdrop to developing events is compounded by oblique references to an immersive, role playing, game that the protagonists used to play - ‘persona’. As the clock nears midnight, the outcome is still uncertain.

The Fringe is sometimes crying out for dramatic new writing for ensemble casts and Persona represents a well written and interesting piece from Max Allen. Credit too to director Olivia Woods for maintaining a notably well-judged pace.

The character performances are all strong – Forrest is the embodiment of entitlement, while Diner conveys a composed, languid style. Towers’ physicality draws the eye as she weaves patterns around the three males. Allen’s nervous unpredictability adds to the tension.

This is Persona’s first Fringe outing and some adjustments may be worth considering.

The relationships might use a small polish. Geoffrey’s occasionally passiveness in the face of Rupert’s assertive behaviour is perhaps jarring. Gemma’s relationship with Rupert is somewhat confusing. Urgency with the deadline looming would surely emanate from at least one of three for whom the stakes were high.

Perhaps the root cause is that the game ‘persona’ is never adequately explained. While that may be a deliberate stylistic choice, its innate opacity lending the situational unease a layer, the result is that some aspects do not fully land. A shame, because there is so much to admire here.

These are very minor reservations about the production’s structure. Without any doubt, there is a taut, twisting, and exciting thriller waiting to emerge.

Space Triplex, Hill Place, until 29^th August.