Theatre Review: Instructions for a Teenage Armageddon, Garrick Theatre
⭑⭑⭑
Rosie Day's Instructions for a teenage Armageddon delves into the raw realities of teenage struggles. Set in a minimalist bedroom only painted with lilac hues, the narrative goes beyond typical coming-of-age themes, delving into a spectrum of traumas including grief, eating disorders, self-harm, and sexual assault.
Inspired by the absence of plays centred on teenage girls during the peak of "One Woman Plays", combined with a dare from theatre director Hannah Price, Day took on the task of crafting the script, reclaiming the narrative for teenage girls. Instructions for a Teenage Armageddon premiered at Southwark Playhouse in 2022 with Day in the lead role. This performance served as the foundation for a self-help book titled after the play, with contributions from 30 remarkable women.
The production has now transitioned to the West End with a captivating performance by Charithra Chandran, known for her role in “Bridgerton” as Edwina Sharma. Directed by Georgie Staight, the show maintains authenticity, although Chandran's exceptional talent often carries the weight of the performance as the depth required to fully explore the challenging subject matter feels somewhat lacking.
“Teenage Armageddon” introduces us to Eileen's dark humour through the retelling of her sister's death by Yorkshire pudding, which is later revealed to be due to anorexia (when asked what her sister would like to be reincarnated as, she instantly replies “skinny”). Following this tragedy, Eileen finds herself isolated by her peers and her emotionally distant parents’ divorce, seemingly erasing her sister Olive from their lives.
Eileen joins Scouts with the aim of collecting every badge, which serves as the framework for the play's monologue. Led by Sensible Susan, voiced by Maxine Peake, the Scout badges offer moments of levity but is also an underdeveloped device.
Delivering an 80-minute monologue is a remarkable challenge for any performer, let alone for someone stepping onto the stage for the first time professionally. But Chandran's portrayal is believably emotional, conveying the wonderful narcissism and naivety of teenage youth. She effortlessly commands the stage, seamlessly flipping between humour and anger. However, pre-recorded video clips carry much of the narrative weight, depriving Chandran of the chance to fully extend her performance.
The script is funny, eliciting loud laughter from the audience, and captures the essence of teenage self-importance with remarkable authenticity. However, the plot has an excessive rollcall of traumas with no trigger warnings. The 80-minute production does not allow for the thorough exploration and proper justice of these weighty themes, and therefore feels like an unnecessary plot device.
The play's themes will resonate with women in their early 20s, it is an ode to the overconfident, bratty, grumpy teens we all were. In addition to her stellar performance, Chandran's appointment as Eileen also challenges stereotypes by showcasing a South Asian woman in a role that is a refreshing change from the "big fat Indian wedding" trope, offering a refreshing perspective on representation and identity.