Algorithms – Park Theatre, London

Sadie Clark’s Algorithms is a relatable, hilarious, Queer rom-com for the modern age.

Algorithms

“A bisexual Bridget Jones for the online generation”.  That’s what Algorithms is billed as, and what it more than lives up to.  Sadie Clark writes and performs as Brooke: almost thirty, a hopeless romantic, and working at dating app start-up Slide Hustle.  We follow Brooke as she navigates a break up, problems at work, pressure from her mum, and feeling crap at everything.  Isn’t life supposed to be like F.R.I.E.N.D.S? Shouldn’t she be reaching those milestones that everyone on Instagram seems to reach so easily? Social media promises a life surrounded by beautiful things and wonderful friends, but maybe it actually just makes it a little too easy to compare ourselves to the curated lives of others.

The sweet, honest, funny persona Clark creates in Algorithms really spoke to me. I’m not going to lie, I’m a touch older than thirty.  Probably the generation between Brooke and Bridget Jones, actually.  But it seems that, no matter how we look for partners and whether the sexy London jobs are in publishing or start-ups, one constant (especially for women) is the pressure from ourselves and society to be perfect.  To be pleasant, do the right things, and mould ourselves to fit what others want.  It’s exhausting, as Brooke discovers, and makes it hard to rediscover yourself underneath it all.

Killer Lines and Killer Comic Timing

Clark takes us on this journey over the course of an hour, and in the form of a monologue.  She’s very funny, with killer lines and even more killer comic timing.  Her knowing glances to the audience are perfection and result in roars of laughter.  She acts against a simple (uncredited) set of golden party decorations and a plinth or two.  Jennifer Rose provides lighting which subtly echoes Brooke’s mood and delineates scenes.  Nicola T. Chang’s sound design and composition masterfully handles apps, scary owls (or men pretending to be owls?), offices, clubs and parties.  Madelaine Moore, directing, keeps things light-hearted and frothy, but vulnerable where it’s needed.  

I left Algorithms feeling buoyed by its message of self acceptance, wanting to shake off a few expectations myself.  There isn’t a perfect algorithm by which to live one’s life, after all. I had also come to feel over the course of the show that I knew Brooke, that the conversation had been between two friends, and was a little disappointed it wouldn’t continue.  There’s probably no better advertisement for a performer’s ability to connect with an audience.

Algorithms is on for a few more weeks at North London’s Park Theatre, and is well worth a watch.  I’m sure we’ll see more from Clark, who has a frank and charismatic humour that will take her far.

Salterton Arts Review’s rating: 4/5

Algorithms on until 11 May.  More info and tickets here.