When Enough was first performed at the Greater Manchester Fringe last summer it was depressingly prescient. A play about misogyny, corruption and racism in the police less than six months after a review into the culture and standards of behaviour at the Met was published.
As part of a Best of Fringe season, Enough is one of a handful of last year’s highlights being revived at the King’s Arms in Salford. The play won a Best Drama award in the summer, and it is not hard to see why.
The subject matter may be, marginally, less topical but is no less important. In fact, the ‘enough is enough’ message is, arguably, even more powerful now. The attention of the headlines circus may have moved on but the issues this play raises have not been resolved.
As is often the case, it is down to powerful, moving and engaging drama to keep shining a light and keep asking the key questions our news media may be failing to do.
PC Irie Dayton is starting her new career in the force. After a touching tribute to the Sarah Everard vigil, Riah Amelle bounds onto the stage bursting with excitement and enthusiasm.
Slowly, but surely, we see Dayton’s worthy ideals and youthful passion beaten out of them through a combination of institutional cynicism and abuse. This is a tour de force from Amelle who is utterly believable at every stage of their character’s journey. Their growing pain, their growing anger, their obvious emotion is shocking and moving.
No less believable are Dayton’s two colleagues. Sergeant Toni Spence (Gemma Green) who has let the slightest bit of power go to their head and whose troubled personal life has clearly poisoned what honour they may have once felt in serving in such an important societal role.
Spence’s repeated use of the phrase “your lot” not only raises huge red flags but is symptomatic of the othering PC Dayton is trying to fight against. This isn’t a panto villain performance from Green, however, but one with depth and nuance.
Stuck in the middle somewhat is Emily Hunter’s Christine Dash. Not blind to the clear problems in their workplace but not willing to speak out either. There is so much unsaid in Hunter’s delivery. Their performance is all in the eyes. The power, yet reluctance, to effect change is heartbreaking.
The actors are aided by some brilliant dialogue, also courtesy of Hunter. Their script is tight, clever and totally natural.
We learn all we need to know about PC Dash from their declaration that they are only interested in “bacon, brew, bed – in that order”. There are countless examples of this smart, simple writing.
Kitty Ball’s direction is unfussy, but far from uninspiring. A table, chairs and black rail are all that is needed to create a patrol car, a boozy bar and a police briefing room. There only needs to be a handful of police props to complete the setting.
The audience is even transported to a drug den, complete with a stash of cash behind a cleverly used black curtain. The play’s action set piece is neatly choreographed for such a small acting space.
An ominously threatening soundtrack of interlaced voices is a smart trick to take Enough to the next level.
The plot’s surprises may be well signposted, but they are no less thought provoking when they come.
Overall, this is a triggering but engaging watch. An important play, but one that doesn’t just rely on its worthiness. Instead, the whole cast and creatives deliver their theatrical best.
It may be depressing to realise Enough is still relevant, but while it is still pertinent, we should be thankful there is a piece of art so brilliant to accompany the distressing reality.
Reviewer: Peter Ruddick
Reviewed: 26th January 2024
North West End UK Rating: