Swivelhead

Revealing the banter-filled bullying that takes place in the armed forces, Ben Dyson’s Paddy picks on fresh meat Callum, played by Lewis Howard. Writer and director Jon Welch’s focus floats from the impact of drone warfare, both on the world and on its operators, to an intimate but cracking sibling relationship. However the movement around Pipeline’s chunky treehouse set makes the separation between the two threads inelegant.

Swivelhead's set is celebrated as one of the largest at the Fringe, and with multiple screens, projections and a small camera drone, the technical aspects of the production are certainly impressive; but the design prevents more space for interaction between the duos. When given time to breathe, the characters display glimpses of wonderfully tense, built-up emotions, and Paddy’s relationship with his sister Hattie (Juliet Welch) is particularly moving.

As Hattie's wedding approaches, the thought of losing her sends Paddy into breakdown. The opportunity to explore the impact of his career and personal life on his mental health is wasted, unraveling into absurdity rather than being taken seriously. The confused metaphors and unclear plot lines that end the play lack the care taken to set up the characters at the start. 

Pressure and banter fill this performance on the troubles of modern warfare and modern relationships, but a focus on design sacrifices the space for tenderness and anger to roam free.