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"Famished Future Feeders," a new eclectic work by Jules Broun and produced by the independent theatre collective, Robert the Cat. The piece offers a compelling and fragmented dystopian narrative and an interesting night at the theatre. The piece melds various styles that intrigue and alienate, where relationships and human connection offer a hint of comfort in the dystopian landscape. 
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The show opens with three distinct groups of characters set within an array of coloured set pieces. Visually, the piece is striking, not anchored to a specific time frame but rich in imaginative detail. The creative costuming choices (particularly the glitter jumper and severed arm combo), add a jarring yet captivating element to the piece. This metallic, steam-punk visual landscape felt distant but oddly desirable (I heard an audience member say, “I want that top!”), and it was an exciting design for the play to unfold within.
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As the opening scene flicks between the three separate groups, we catch glimpses of sentences and fragments of moments before swiftly switching to the next group. This engaging start throws us into Broun’s fragmented writing style, which keeps us on the edge of our seats, constantly trying to piece together the narrative. Broun's writing, characterised by its dark comedy and absurdist approach, is both experimental and intriguing. The dialogue feels poetic in moments, with rhymes and succinct rhythm, while other moments jarred like absurd television advertisements with contemporary cyber-world references that scarily resonate.
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The dialogue transitions us through scenes to help delve deeper into the theme of imprisonment, particularly through characters like Fuge (Milan Bjelajac) and Leo (Peter Hatton), whose dynamic reveals a dictatorial power structure pressuring something much wider. While the scenes work individually, the overall narrative struggles with clarity, occasionally feeling like a tangled web of relationships. I found myself needing more time connecting the dots of who knows who, and I missed some plot while ponding on that aspect. Refining these relationships in the script could enhance the overall coherence of the script. The circumstances that surround the relationships also need tightening to effectively deliver the intended impact. While the world was a really interesting concept and I enjoyed the hunt for clues to piece the show together, I was left with some blind spots that felt unintended. 
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The actors guide us through this complex narrative by keeping right on top of cut-off lines and interruptions, controlling the pacing of each scene well. John Ford and Jules Broun are a notable casting delight for Ham and Iggy—characters who love devouring a limb and throwing a fruit or two. I do feel there was opportunity for these actors to lean into the absurdity and characterise them more, though, their ensemble work was entertaining and the actors bounced off each other well. Moments that worked well were when conventions and expectations were broken. A stand out example is Bjelajac’s physicalisation of Fuge, where he moves around with a pillory attached to him. There was potential for more physical comedy and experimental staging like this, which could further elevate the production to reflect the style more effectively.
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I really value an original score for a theatre piece, and was really impressed by Drew Crawford and Joe Glynn’s compositions for the show. The techno score certainly enriches the production and gives the piece a unique atmosphere. However, other design elements, like the lighting and sound, occasionally overwhelm the performance. The frequent changes in light and black outs made scenes unnecessarily static; I felt the dialogue effectively achieves the disconnect where these design elements hindered the execution. More subtle transitions could have been more effective in maintaining audience engagement.
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The final scenes lost some of the tension built throughout the play, with extended moments that dilute the impact of crucial moments. Though, this emerging work is certainly thought-provoking and an interesting piece of theatre that left me with new questions surrounding the role of human disconnect in an array of contemporary challenges. Broun’s dual role as writer and performer is commendable and I am excited to see some more of their work.
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"Famished Future Feeders" is on at Metro Arts (New Benner Theatre) until Saturday 13th  July. 
Get Tickets here.