Review: Toad Patrol

Downing college is an inspiring proponent of student theatre. From the ‘John Treherne’ fiction prize to their annual ‘Festival of New Writing’, original voices are showcased and championed throughout the year. Today’s students are the future of tomorrow’s theatre, and the work Downing are doing to champion their creatives is indispensable. 

Toad Patrol, written and directed by Lorna Beal tells the story of four friends monitoring a stretch of road to protect the migrating toads trying to cross it. Despite the hand written signs encouraging ‘Toad Rights’ and promising to ‘Make Toad not War’ they only encounter two, so in the gaps that ensue truths start to surface, accusations are made and loyalties are put to the test. 

Image credits: Lauren Herd

Toad Patrol is certainly an ambitious play, and one that tackles important topics around harassment, assault and culpability. However, at only an hour in length some of these discussions felt somewhat rushed and incomplete, audience attentions were divided; a more singular focus could have helped with the overall impact of the play. 

In a writer’s statement, Beal says: “This play explores that re-traumatisation alongside reactions to sexual assault from a victim’s friends and peers”, and wanted to use her writing to explore how “the truth clash[es] with your own reality”. She tells me that “In a world where Donald Trump, a man found by a jury to have been liable for sexual abuse, can be elected President, I think Toad Patrol is more important than ever.” 

I don’t disagree. It takes courage and vulnerability to stage an uncomfortable yet pertinent message, and audiences will leave the show confronted with their own complicity. 

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Image credits: Lauren Herd

The motif of migrating toads is an apt metaphor for defending an unappealing truth, and brings a welcome lightness to the play. Speaking of, lighting designer Lauren Herd does a fantastic job of communicating the oncoming traffic through her creative visual effects. 

However, the proscenium arch staging of the Howard Theatre proves slightly dwarfing at times, with several scenes placing the actors proxemically linear, although striking moments such as the dynamic argument scenes and choreographed following of toads are inspired and effective. 

Such scenes are carried by the talented actors involved; due praise must be given to Aaliyah Ogunlana, who even in her long stretches of silence on stage listens and reacts with an eye-catching believability. Her nervous mannerisms as Jess are convincing, and the level of rawness this role requires may be hard to play with sensitivity, but Oguniana executes it commendably. Indeed, every member of this four person cast has stand-out moments. Ben, the only character who takes Jess’s side in the accusations is played with a gentle charm by Milly Kotecha. She conveys Ben’s turmoil believably, and with a promising nuance.  Sophia Orr as the antagonistic Gracie brings exuberance to the stage; her energy keeps Toad Patrol feeling exciting and dynamic even in moments of stasis. Despite the callousness of her character, Orr’s performance is a true joy to watch. To make this play thought provoking, a degree of sympathy for the perpetrators is necessary and both the casting of Orr and the choices she makes deserve merit in helping to achieve this. Edward Campbell, debuting in Cambridge theatre with his role as Craig performs with real flair, but is occasionally let down by a caricaturised script. Campbell has the audience on his side from the start, and most laughs come from the endearing, if naive enthusiasm of Craig. From arresting monologues to emotional reactions, he does an exceptional job with a daunting role to take on. Fittingly with Beal’s intention to clash truth with reality, Craig is the ultimate culprit and I appreciate the dichotomy of character that renders this revelation especially poignant. 

Image credits: Lauren Herd

Unfortunately, there are moments that Craig’s character comes across as a cliche. From his struggles with social cues, to the fourth wall breaking: “I’ve always loved trains” the character was satirised in a way that felt unpleasant at times. Perhaps the difficulty in seeing Jess’s perspective is necessary to divide the group’s sympathies, but I feel this could have been communicated without resorting to stereotypes placed as the butt of the jokes. Furthermore, interspersing a play about sexual assault with raunchy humour is a risky choice, and several of these moments didn’t quite land. The show struggles at times to find its tone and strike an appropriate balance between its comedic points and the gravity of its more serious topics. 

That being said, to stage new writing to a 140 seat theatre is a phenomenal achievement. The effort from both cast and crew involved is to be congratulated, and Toad Patrol is a relevant play with important things to say. The premise is promising, and as a first directing credit, an incredible accomplishment.

Why did the toad cross the road? With only two performances left, why not hop along to Downing and find out?

3/5

Toad Patrol is showing Thursday 7th October – Saturday 9th October at the Howard Theatre, Downing. Book your tickets here.

Featured image credits: Tom Barry