Mark Zuckerberg’s face mounted on a dartboard, surrounded by communist propaganda and Che Guevara posters, this setting sets the tone for what unfolds – a darkly comic yet unexpectedly moving play. Set in a cramped flat reminiscent of student accommodation, “Bernard”, “Suzanne”, and “Bee” find themselves in an absurd and provocative situation: Mark Zuckerberg has been kidnapped and is being held hostage in the basement.
What makes the play particularly compelling is its relatable characters who have a desire to find agency in a world that feels increasingly beyond individual control. When conventional political action feels futile, their radical and explosive action serves as both a critique and satire of apathy in the modern age.
One particularly striking moment comes in the form of a radio broadcast listing global atrocities before abruptly announcing the death of David Attenborough, at which Gabrielle Collins’ character is comically distraught, mourning the loss of “the last good man.” Infused with a deliberate irony, it exposes the skewed emotional priorities of contemporary society, where parasocial relationships seem to provoke more public feeling than real human suffering.
The performances were excellent. Jess Kaijaks and Maximillian Kinsky share a consistently engaging dynamic defined by sharp exchanges and precise comedic timing. In contrast, Bea Lermite grounded the play’s emotional intensity with her deeply moving, heartfelt performance. If there is a weakness, it lies in the sudden musical break towards the conclusion of the play. While beautifully performed, it threatens to diffuse the intensity of the moment at what should be the narrative’s most climactic point.
Image by Madeleine Brady provided by Billionaire In The Basement Production Team