The Virgins Review: A Tornado of Teenage Gossip and Pain at Soho Theatre
Sexual experience serves as a powerful currency in Miriam Battye's compelling play, The Virgins, currently captivating audiences at Soho theatre in London. This production, which secured the Women's prize for playwriting, plunges viewers headfirst into the tumultuous world of adolescence, where desire collides with stomach-churning awkwardness in a narrative centred on teens determined to kickstart their sex lives on a fateful Friday night.
A Night of Anticipation and Pretence
The story unfolds with best friends and virgins Chloe, portrayed by Anushka Chakravarti, and Jess, played by Ella Bruccoleri, preparing for their inaugural "out out" evening. They are joined by the gossip-obsessed Phoebe, embodied by a hysterical Molly Hewitt-Richards, who recoils at any mention of physical contact. As they brush their teeth and style their hair, they eagerly await Anya, brought to life by Zoë Armer, an older student poised to impart crucial knowledge. Meanwhile, Chloe's brother Joel, a role taken by Ragevan Vasan, and his strikingly attractive friend Mel, played by Alec Boaden, are engrossed in video games next door. With parents absent and vodka mixers at the ready, the stage is set for a night brimming with potential and peril.
Authentic Scripting and Direction
Battye's script masterfully captures the dynamics between the characters, with each room discussing the other as if observing strange wild animals. The girls cluster in doorways, gawping and gasping at the boys fixated on their screens, while Anya dispenses advice to assert her dominance. Chakravarti delivers a perfectly judged performance as Chloe, who fabricates stories and exudes artificial confidence to impress Anya, often at the expense of her true friendships. In parallel, Joel adheres to Mel's guidance as if it were drawn from a golden rulebook, highlighting the pervasive influence of peer pressure.
Directed by Jaz Woodcock-Stewart, the play unfolds with the intensity of a horror film, employing short, sharp bursts of action. Between scenes, the stage plunges into darkness, accompanied by dramatic orchestral music that heightens the tension. When the lights return, each moment feels precariously balanced on a cliff-edge, even as certain elements, such as the rumours surrounding Anya or the origins of Mel's speech about feeling let down by women, remain tantalisingly unexplained.
Themes of Threat and Desire
The threat of men looms large throughout the narrative, with Phoebe struggling to articulate words in the presence of boys and the girls devising signals to alert each other in uncomfortable situations. Yet, beneath their halting conversations, desire simmers, creating a queasy, stomach-churning experience as they perform at adulthood. Watching these characters navigate the awkward choreography of such nights resonates uncomfortably with anyone who has lived through similar adolescent trials.
Battye's strength lies in her ability to craft scenes that feel utterly authentic, making The Virgins a poignant and relatable exploration of teenage life. The play continues its run at Soho theatre in London until 7 March, offering a raw and insightful look into the complexities of growing up.
