You may be under the assumption that you're in for a titillating and frisky ride when going to watch The Mask Policy. However,  there is very little to be scared of here - the most graphic event during this play is a shirtless cast member walking out on the stage while air humping with an aubergine in his hand. Classic.  

Independent and new theatre is, and always will be, vital to the  UK theatre scene. The Mask Policy, directed by Yi Tang, brings a fresh perspective and angle to the theatre scene from the adult film industry and its corporate world of wonder. It's essentially a social commentary on workplace environment and politics, and how to deal when those in charge are impossible to work with. It takes inspiration from writer Tianjiao Tan's own experiences working in the same industry - a risqué little reveal, if you like. 

The Mask Policy follows the protagonist Jade (Vero April  Zhou), as she manoeuvres life as a new employee at the adult film company Yellowed. She is led by her line manager and producer  Crystal (Elizabeth Bell), who is making Jade's life increasingly difficult within the company. This forces Jade to reassess how she behaves professionally and forces her to look at what sort of person she wants to be.  

While the ensemble of six have plenty of charm, and while there are some genuinely funny moments and deliveries, there are quite a few elements left to be desired from this performance. It lacks connection and listening, and it somehow simultaneously feels overly rehearsed, as well as underprepared at the same time. A  discussion about the company's style of acting would be beneficial - whether it be a conscious choice or not, it unfortunately makes the piece feel disconnected when some portrayals are naturalistic and others are so exaggerated. A special  mention is due to scene stealer Christie Peto, wonderfully and 

hilariously depicting a very difficult HR worker, making the protagonist's life even more difficult.  

 

The design is minimal yet messy, which is to be expected from an office environment. An effort has been made to depict different physical spaces within the play, which can be a difficult feat on any stage. This is accomplished through changing the direction of the furniture. Simplicity is often key, as proven here. Scene changes are stuttering, and certain sequences are quite awkward -  bus journey through London blasting 90s/00s tunes, I'm looking at you. Well, in all fairness, there is some comedy to be found in this as Crystal confidently delivers tour guide information that isn't rooted in reality whatsoever, as the ‘big boss' of Yellowed comes to visit London. It is so awkward it becomes charming and funny, and is a playful execution of old-fashioned analogue theatre not supported by LED screens, tech or big set pieces - just a tiny toy double-decker at the front of the conga line cruising through central.  

A highlight of the play is a clever little section between consciences or ‘specters' in red and blue mesh suits, effectively operating as the devil and the angel on Jade's shoulders debating wether to stay authentic to her work and herself, or adapting to playing the cooperate game and effectively 'wearing the mask'  while throwing those around her under the double-decker bus to get ahead.  

But the execution of light and sound is something that's severely letting this production down, and really should be looked at. It's stuttering, abrupt, and awkward, and simply distracting from the action. The lights and dimming of these aren't lining up with the  

narrative or storyline, and they land all over the place. It feels unpolished and lacks detail in editing and timing. It contributes to making the already confusing asides and direct addresses of the 

audience even more confusing to follow. While theatre should strive for the audience to think, this isn't the correct thing an audience should be thinking about and focusing on. Perhaps this was an off night for tech.  

It's an interesting story that has a lot of potential. It could be a dynamic play and an impactful social commentary, but currently lacking in direction, concept, and execution despite everybody's best efforts. A tidy up is needed, especially among the set and props. With an assessment of the pace, and a thorough look at the technical aspects, this could be a dynamic and clear play. So while it's currently somewhat unpolished, it still holds plenty of room for improvement and potential. Most certainly an intriguing piece under development.

Review: Levi R.