A young employee, Eli (Oliver Tapp), is sacked from his sales job for his intimidatory social media posts outside work to ex-girlfriend Carina. She subsequently reported him to his employer. He is angry and aggrieved and seeks her out for an explanation, but she keeps blocking him. Short of rent money and in a dark place, he finds an extremist, Naz (Bailey Griffiths, who wears a black wolf’s mask and has his voice distorted), online.
The extremist pushes Eli to get his own back – to going down the path of retribution. In fact, Naz, a virgin with a low opinion of himself, has mass destruction in his sights in pushing for male domination. At the same time, Eli is back onto dating app Hinge, although that is not working for him either. He is constantly getting knocked back because potential matches see him as not tall enough. He is 5 foot 10 and the question that is constantly fired at him is whether he is 6 feet.
Created and directed by Chris Patrick Hansen Blackpill. exposes a side of the internet where misogyny rots unchecked. The electronic program, available when you attend, neatly outlines the conceit. This is an interrogation of female-hating subcultures, with a specific focus on the incel (an involuntary celibate, namely a virgin, but not by choice).
The play dives headfirst into nihilism, vitriol and twisted justification. The predatory online tactics used to recruit boys in the 12- to 16-year-old age bracket is something the playwright has sat on for some time. The incel community gets to the young and the susceptible. It pushes radicalism. When asked who he would like to see Blackbill., Hansen is unequivocal. “Young boys, disaffected boys, disillusioned boys, frustrated boys with no-one to reason that frustration with except other frustrated boys,” Hansen says.
In fact, he hopes that anyone who sees the play leaves with a more nuanced understanding of the nature of the beast that we, as a society, are up against. Hansen goes on to say that “the show is a call to action – a reminder that we accept the standard we walk past”. “If we don’t loudly and openly advocate for positive masculinity, there are other voices out there that can draw in impressionable minds.”
So, does Hansen succeed in creating a transformative production to address his concerns. Overwhelmingly, “yes”. This is a phenomenally well developed and executed piece of theatre, which uses video, dance, music and voiceover, as well as traditional narrative, to great effect. It shows how readily a concocted reality can be created off the back of a disturbed mind.
The dance sequences, including tap, are particularly well choreographed by movement director Sian Quinn Dowler. Their realisation by the talented, well drilled cast of 10 is next level – mighty impressive. Beyond the dance, the ensemble is en pointe throughout, led with aplomb by Oliver Tapp, who nails the angst riddled role of Eli.
When coupled with sound design by Paracosm and lighting and visual design by Jacques Cooney Adlard, it makes for a heady mix. Blackpill. has huge impact. It is an offering that will long stay with me. Use of the black wolf mask, coupled with the disturbing words attributed to the character, is genius. So, let Blackpill. open your minds to just what is going down on the dark web. It is playing at Theatre Works’ Explosives Factory until 26th April, 2025.
Alex First
Other reviews you might enjoy:
- Volition (Theatre Works’ Explosives Factory) – theatre review
- KOAL (Theatre Works’ Explosives Factory) – theatre review
- HE (Theatre Works’ Explosives Factory – theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
