TWSS’ Flora Tomlinson reviews theatre company Full Frontal’s latest play, reflecting on the shocking moments of the performance as well as the important commentary it offered.

You might have found yourself asking, in a world full of people ravenous for success in all its forms, what do we have to lose to secure it? Who wins when all morality goes out the window in the search for sex, money and security? The all-female company Full Frontal Theatre took on the momentous challenge of answering these questions in their latest play To Watch a Man Eat at the Alma Tavern Theatre last week.

If you couldn’t tell by the name, the company is out to shock – and boy do they deliver! The company, inspired by the in-yer-face theatre movement, does not shy away from uncomfortable moments to startle and surprise you. In a show jam-packed with sexuality, complex relationships, manipulation, and a pinch of violence, it grips you from start to finish. The 90 minutes make you laugh, squirm and reflect in equal measure.

To Watch a Man Eat is narrated by trifle-loving Micky, played by George Pack, who recounts the lives of the couple Andrew and Melissa. Micky, a fireman and the antithesis of investment banker Andrew, tells us of his satisfaction with his simple life as opposed to the gluttony of Andrew’s. Pack delightfully and comedically acts as a relief in between the intensity of Andrew and Melissa’s fiery relationship, which in itself makes us question how much control we really have in our lives.

Andrew, played by Keir Churchill, repeats his monotonous routine every day, convincing himself of how much he loves it until one day he starts to question his chosen path, much to the chagrin of his vindictive and incredibly smart partner Melissa. Played by Lily Walker, Melissa’s contentment with her ability to manipulate Andrew and her precarious position as a woman relying on her husband’s income slowly begins to unravel as the play goes on. Anything but the typical housewife character, Melissa introduces us to the female potential for violence and anger which is often solely explored in men. She has painstakingly built a life which suits her perfectly, and her tactics and intimidation are frightening to watch. Walker and Churchill create this dynamic superbly, and their chemistry on stage leaves little to the imagination.

The play, brilliantly co-directed by Sadie Pearson and Hen Ryan (the founders of the company) and produced by Grace Shropshire, is the second play by Full Frontal Theatre and follows their 2023 production Odium. They pride themselves on their in-yer-face attitude and anti-status quo tenets, which are perfectly reflected in To Watch a Man Eat. Their ethos demonstrates this completely:

“Full Frontal Theatre are a woman-led company, comprised of three gobby gals, who stick two fingers up to patriarchy and take up space. Platforming loud, lary writing and daring directing, we promise never to enter a stage quietly.”

Pearson told me that she believes that ‘uncompromising displays of the most fundamental human instincts of sexuality and violence, though uncomfortable to watch, permit an audience to analyse topics in a unique way, bridging the gap between the philosophical and the primitive.’ In watching the show, unsurprisingly, you are likely to see a squirm from the audience, here and there, as the company intends. Full Frontal seems to say ‘Fuck what you want! Here’s what you need to see.’ To Watch a Man Eat makes you think and reflect for the full 90 minutes: what will truly make me happy? What will I have to sacrifice to reach my goals?

To Watch a Man Eat is a brilliant exploration of the female psyche and deconstructs whatever illusions of control we have, how easily that can be taken away, and what it means to be satisfied. It certainly is not for the weak of heart – or indeed for your easily shockable and elderly uncle or tattoo-hating mother.

Their upcoming run at the Edinburgh Fringe Festival is hotly anticipated and sure to be a hit. It’s not one to miss, and you can catch it from the 2nd-10th of August in Greenside’s George Street Venue.