Four Minutes twelve seconds
By James Fritz
Directed by Chris Lawson and Natasha Harrison
Oldham Coliseum, 2020
Nothing dies online…except reputation.
Four Minutes Twelve Seconds deals with consent especially surrounding the growth of personal technology and how far parents will go to protect their children.
Seventeen-year-old Jack has a bright future ahead of him. His parents, Di and David, have devoted their lives to giving him every opportunity they never had. As a result, Jack is smart, outgoing, and well on his way to leaving Oldham to study law at university.
But a startling incident threatens to ruin everything they've striven for: an intimate video of Jack and his girlfriend Cara has appeared online. As events begin to accelerate, Di and David start to doubt their son, his closest friends, and ultimately themselves – who can they trust?
Di - Jo Mousley
David - Lee Toomes
Cara - Alyce Liburd
Nick - Noah Olaoye
Directors - Chris Lawson and Natasha Harrison
Assistant Director - Siobhan McAuley
Designer - Anna Reid
Lighting Designer - Stewart Bartles
Sound Designer - Andrew Glassford
Photography - Joel Chester Fildes
Videographer - Grant Archer
Written by James Fritz
⭐️⭐️⭐️⭐️⭐️ - "Everything about this production shows that the theatre produces work as good as or better than any other theatre in the North." - Northern Soul (February 2020)
⭐️⭐️⭐️⭐️ - "Timely and nuanced" - The Stage (February 2020)
⭐️⭐️⭐️⭐️ - "Gripping" "always exciting and in the first half hour or so actually quite funny, twisting its moral centre like a Government in an election year." - Theatre Reviews North (February 2020)
⭐️⭐️⭐️⭐️ "Incredibly engrossing" "the sense of patriarchal arrogance overriding consent emerges in the second half that the unease becomes darker and more disturbing." - A Younger Theatre (February 2020)
⭐️⭐️⭐️⭐️ "Engaging and accessible" "The performances by all four are subtle and nuanced, which is aided by excellent pacing in the dialogue in moments of breath and reflection and swelling doubt."- North West End UK (February 2020)
"Lean, cohesive and tightly focused. It’s a riveting production, arrestingly staged, that grips right to the very end."- Circles&Stalls (February 2020)