It is one of the sadder and more shameful aspects of modern life, that super-innovative and successful megolithic online companies apparently do not feel it within their capabilities to share their success by extending some humanity to the workers on the shop – or, in this case warehouse – floor.
The company Tamsin works for as a packer in Katherine Soper’s new play at the Jerwood Theatre Upstairs at the Royal Court is for obvious reasons unnamed. But a working world which is driven entirely by targets, where workers are on zero hours and toilet stops are timed and points (or strokes) are handed out for the slightest thing such as a missed target, is made all the tougher for Tamsin who at the age of 19 is the sole breadwinner for herself and her younger brother, who suffers from an extreme form of OCD.
Wish List, like the National Theatre’s Love, is from the slice-of-life brand of theatre, featuring in both cases people on the edge of society struggling to survive against the unseen and inhumane hand of the benefits system. In both plays the sufferer is called Dean (a coincidence I presume), who is unjustifiably turned down for, respectively, housing and unemployment benefit, for reasons that aren’t entirely clear. (It’s time we heard it from the other side I think.)
The two plays have other things in common, not least a set that includes a kitchen and a bathroom. The difference being that on the traverse stage of the Royal Court Upstairs every member of the audience can see everything.
Whatever reservations I might have had about the play were more than compensated for by the performances, and in particular by Erin Doherty as Tamsin: uncertain, eager to please, funny and occasionally and surprisingly passionate, and always completely believable. A talent to watch.
And now it’s over to you, Department of Work and Pensions. Seriously.