The Shitheads Review: A Primal and Playful Prehistoric Oddity at Royal Court
Love is expressed with a licked thumb run down a forehead in Jack Nicholls' dazzlingly unpredictable debut play, The Shitheads. This savage and sweet theatrical production transports audiences back tens of thousands of years to a time when survival demanded good aim with a hand axe and squeamishness was a luxury no one could afford. Now showing at the Royal Court Upstairs in London, the play runs until 14 March, offering a unique blend of prehistoric storytelling and modern theatrical innovation.
A Meeting of Opposing Perceptions in a Prehistoric World
Early humans Clare, portrayed by Jacoba Williams with a slippery and wild energy, and Greg, played by Jonny Khan with puppyish excitability, meet during an elk hunt. The elk itself is a beautifully raggedy creature designed by Finn Caldwell and captained by Scarlet Wilderink, appearing absolutely alive until its dramatic demise. Never having encountered anyone like each other, Clare and Greg are in awe of their opposing views on time, the future, living, and dying. Their interactions are wide-eyed and primal, with a sense of wonder accompanying their blunt peculiarities.
Directors David Byrne and Aneesha Srinivasan helm the production with a thirst for blood and a delight in playful, prehistoric oddity. Nicholls builds a world reliant on spears and seeds through chatty, often simplified speech, while encapsulating the grandness of dreaming, listening, and fighting for survival. The narrative delves into themes of love and violence among early humans, making it a thought-provoking addition to the London theatre scene.
Wild Imagination Over Historical Accuracy
Clare has grown up in a cave protecting her eager little sister Lisa, played with bounding energy by Annabel Smith, and their father, portrayed by Peter Clements with wonderful menace. Their father, an ailing man, has built his daughters' worlds on myths of the "shithead" people outside—claiming they can't talk, are stupid, and that eating them transfers their dreams. However, Greg's arrival, telling Clare stories and dismantling her reality, challenges these beliefs. Danielle, Greg's partner played by Ami Tredrea with rugged wariness, further complicates matters by climbing down into Clare's cave.
Anna Reid's design artfully merges red-dust cave paintings with armchairs and lamps, and bones dangling as decoration, choosing wild imagination over historical accuracy. This creative approach allows the story to escape the confines of the stony home, demanding grandeur from its gruesomeness. Discovered through the Royal Court's Open Submissions scheme, The Shitheads demonstrates the joy of greater risks being taken on contemporary stages.
A Feral Story Soaring with Untamed Life
While the end could benefit from a trim, this feral story soars with untamed life, offering audiences a primal and playful experience. The Shitheads is a testament to the Royal Court theatre's commitment to innovative and daring productions. By exploring primal urges and the complexities of early human relationships, the play provides a unique perspective on love, violence, and survival that resonates in today's world.
This prehistoric oddity not only entertains but also invites reflection on human nature and societal myths. With its blend of savage action and sweet moments, The Shitheads is a must-see for theatre enthusiasts seeking something beyond the conventional. Its run at the Royal Court Upstairs until 14 March marks a significant moment in London's cultural calendar, highlighting the power of imaginative storytelling in modern theatre.
