All the three unnamed characters want to do is lead their ‘normal’ lives. But normality is called into question by The Drill, a series of emergency planning rehearsals and scenarios designed to help them survive, respond and cope when faced with a disaster or terrorist atrocity. The distinction between normal and the unthinkable is gradually eroded over the hour of this quick fire drama. Everyday concerns about communal environments, jobs, relationships, pregnancy and casual sex encounters fade away amid the emerging prevalence of fear and concern about something vague and undefined, imaginary but ultimately inevitable.

The distinction between reality and angst is blurred from the outset as the first character relates a dream that becomes a nightmare. The transition is echoed by the other two characters talking about the deterioration of their aspiringly idealised lives. There is the man who has found a good looking new sex partner on the internet, only to find he is older than his profile picture and a little repulsive in the flesh. There is the young woman who has bought into the urban apartment lifestyle, only to find herself humiliatingly forced to work on tacky promotions in order to pay for it.

The prospect of impending disaster turns from aspirant preparation to a series of exercises that fatalistically seep into our characters’ psychology. The new reality is preparing for a potential reality. Our perspectives, values and behaviours are confused by a notion of what might happen, that ultimately comes to dominate what is really happening. It is all rather clever and poignant, and certainly encourages profound thought and reflection on a vitally important contemporary issue.

It is also well performed by all three anonymous young actors. Unfortunately there was nothing in the promotional literature that provided credits, nor could the Box Office provide details. The male actor had a particularly charming humour that he timed to good effect. One actress lent the performance some much needed physicality while the other actress was fluent, convincing, and held the narrative together. Their performances were interspersed with clips from cheesy corporate-style training videos. The actors attempted to interact with these videos in a brave, but disappointingly stilted, attempt to make them interesting. This was a laudable innovative concept, but was only partially successful in adding a visual diversion to a stage performance without costume, set, and only a couple of cheap props.

The text also let the performance down. There was little relevance in the explicit description of sexploits, or the use of the ‘C’ word. Conversely, in the disaster scenarios where swearing might have been more contextual, it was hardly used. Moreover, while I appreciate the attempt to keep it a story about ‘real’ young people, and real young people like to say ‘like’ a lot, this was kind of like, sort of like, like, to the point where it was kind of like, too much like. It needed a little more control in the script to avoid this annoying distraction.

Nonetheless, my criticisms are pedantry. This play entertained and held my interest for an hour, and moreover, really got me thinking about just how much the necessity of planning for disasters has seeped into our individual and collective psyches. For that reason alone it is worth seeing if you have an hours to spare in Birmingham this week.   ★★★☆☆   Robert Gainer    3^rd May 2018