Generation Zero

There is definitely a touch of 2015 Fringe hit Lemons, Lemons, Lemons, Lemons, Lemons in Generation Zero. The focus on language and communication, the politics of relationships and activism, the siege of history versus the ability to shape and configure the future. Sadly, however, Tom Fox’s staging of Becky Owen-Fisher’s text lacks nuance and genuine connection.

The play’s title makes reference to the movement seeking to protest against toxic emissions and protect the environment more broadly. Performers Jordan Turk and Francesca Dolan meet online and soon describe in detail their most intimate encounters. Owen-Fisher’s writing is powerful and deliberate, focusing on the adventurous, non-linear quality of relationships. However, as Dolan’s ‘Her’ pursues an activist line, Turk’s ‘Him’ threatens to betray her radical action.

The stage is a site where love and violence occur within ultra-close proximity. The floor is guarded by a low-level perimeter of bedsheets, cushions and possessions which gradually transform into props. It soon becomes a hostile space as Him and Her attend rallies and get arrested.

The problem here is that neither politics nor love is fully explored. The interplay and friction between principles and intimacy goes unaddressed and the performance starts to buckle. It’s caught between wanting to show us the importance of political resistance and the way it can cause breakdowns in relationships. It’s never able to find the right balance. It’s unfortunate because the play carries a thoughtful message about organising and caring for each other; the drama simply doesn’t have enough meat on its bones.