“New Voices: A season of new writing” declares the programme for The latest theatrical evening by The UnDisposables, a young and ambitious theatrical company whose mission is laid out on their website thus:

No one is Disposable Art is an open space for anyone and everyone. The UnDisposables is an Arts & Theatre Collective. We provide a supportive network and platform for artists to collaborate on developing their skills and creating new work within the arts.

Choosing as their venue the intimate theatre above the very decent Ye Olde Rose and Crown in Walthamstow, much as every aspiring theatrical troupe might begin their ascent, The UnDisposables put on two contrasting one act plays to demonstrate these credentials. The first, Retail Therapy, written by Hannah Whyman (who also plays the anxious but grounded Jenna) has the atmosphere of a spoof Yorkshire sitcom/soap opera in the tradition of Victoria Wood’s celebrated Acorn Antiques.  Not as funny, but there are glimmers of fine comic timing along the way. Its characters are stereotypical but each in their own way charming rendition of British seaside pier vaudeville, updated to reflect the era of the mobile phone, sex toys and Brexit angst.   There is the sane one (aforementioned Jenna), the lazy one (Sarah, Caspian Cunningham), the bouncy one (Alan, Jamie Terry), the vain one (Poppy, Francene Turner) and the diffident store manager (Richard, Richard Law.) These five members of a small supermarket chain staff bounce off one another but never actually sell anything to the occasional customers (the same actors doubling up.)  No surprise that it might close, then?  In fact, that is just a rumour that arises accidentally as the staff try to cover up gaffes with lies. Retail Therapy knowingly sends itself up with no little relish, Whyman demonstrating acute observational skills to pick out behaviours among assistants and customers alike.  A refreshing start to a promising career. The second part of the evening’s entertainment is Esther Mackay’s The Jailer’s Daughter, described accurately in the programme as “a dark modern twist on Shakespeare and Fletcher’s Two Noble Kinsmen.”   The classical roots add piquancy to a modern tragedy.  This powerful drama is a play of immense promise, starting from an intriguing premise of a reality TV show set in a lock-up and populated by convicts and “celebrities” (the sort of show I would run a mile to avoid!)  The crew and the jailer in particular (Yaw Asante), treat the inmates with disdain, caring only about the audience figures resulting from the scenarios to which the convicts are subjected. The eponymous jailer is the creator of the show; his daughter Julia, played with admirable intensity by Amanda Dahl.  This is emphasised as Julia is interviewed by Chamat Arambewela’s psychologist, who appears sympathetic but then subjects her to a questionnaire with intrusive questions, revealing that she is required to become a convict against her will. Against her better judgement, Julia is forced to confront the madness.  While initially refusing to participate in the activities, she finds herself drawn into the plot, created by forcing the convicts to engage in activities in return for treats.  Refusal results in penalties.  Stop me when this sounds familiar. The plot arc is revealed as she is coerced to make a pass at the most reclusive participant, who is drugged to change his behaviour.  Julia works through the moral quagmire in which she is immersed and retain her integrity. Like all good plays, The Jailer’s Daughter places its dilemma on the audience: what would we do in Julia’s position:  Would we comply with the demands on us, or would we fight back and inspire the convicts to escape from their incarceration?  In this case, pleading to the jailer makes no different – but he is delighted by her performance as viewing figures shoot through the roof, a cruel irony. Sarah Fox’s slick direction allows the uniformly excellent cast ample opportunity to excel, though it is the writer whose potential most deserves a wider audience. Mackay is the artistic director of UnDisposables, a fine platform from which to expand her writing and acting career.  This play would easily adapt to TV, which medium would allow her to squeeze the greatest impact.  I look forward to a full-length work at a larger venue very soon.