Guilty Or Not Guilty?: The Forum Review

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The Forum
Image credit: A D Zyne

★★★

Written and performed by multidisciplinary performer Desmond Devenish, The Forum is a solo performance about guilt, judgement and radicalisation. It follows Killian Hitchen, a former agent who becomes radicalised against the judgement system that shapes him and defects to the other side, living under a false name. It is up to the audience to decide if he is innocent or guilty.

Unfortunately, not all of this is conveyed within the show. The script delves into too many details, which makes it hard to follow. If you miss part of the opening scene, it’s very hard to get back in, leaving you lost for the rest of the performance.

Devenish is a very talented performer. He gives his all, despite having a small audience. His gaze pierces through you, and his chaotic, constantly on edge demeanour perfectly encapsulates a man on the run. It’s impressive how much he conveys through body language and expressions. There’s a scene in which Devenish dances, starting with choppy, frantic arm movements but progressing into something softer with more flow. It’s mesmerising to watch, and really demonstrates his versatility as a performer.

The show was created as a response to societal numbness, but too many concepts are thrown in and not discussed fully. The key point is radicalisation, which Devenish shows well. He promises he’s not in a terrorist group but it certainly doesn’t sound that way. It does make you question where we are as a society that people become radicalised, and if he’s really in the wrong by fighting against a broken system.

The Forum is a great concept, and putting the onus on the audience member is an effective one, adding something different to the show. If the script was a little clearer, it would easily be a four or even five star review. Devenish is a very captivating performer, and I hope he returns to the Fringe in the future.

The Forum will be performed at C aquila – studio until 24 August as part of Edinburgh Fringe.

Words by Ellen Leslie


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