Love Corporation Review: A Partial Illumination Of Hate As ‘Love For The Wrong Reasons’

Poster for the show via the ADC Theatre

Toby Collins’ ‘Love Corporation’ is the 2023 CUADC Playwriting Competition winner. This production is well-paced and its precise and powerful technical and directorial choices shine, carrying it in moments where the script lacks. 

The stage is pre-set with Cohen (Joe Morgan) seated opposite Mr White (Izzy Lane) and Mr Black (Adriana de Persia Colon), with a simple black table and chairs lit by a single exposed light bulb. This initial image sets up the interrogation scene and furnishes the idea that all the rooms in the corporation are identical, obscuring more violent operations with day-to-day corporate bureaucracy. Cohen has just taken up a cleaning job at the mysterious ‘Love Corporation’ in order to support his young son despite his psychiatry training and long-time military experience. Meanwhile, bombs are dropping, other psychiatrists are being kidnapped, and the Love Corporation maintains their aim is to place love at the centre of a world filled with hate. 

Staging details feel intentional, and integrate well into the story. Alice Weatherly’s costume design is striking. Mr White wears a white suit and black tie, and Mr Black is in the reverse. This contrasts with the use of blood-red which gives visual cues as to the significance of colour and light and, more importantly, seeing, in the play. The use of red supplements some missed exposition in the script. Dr Jett describes her invisibly blood-stained hands, which are highlighted - literally - by her striking red tights and gloves later on. When Cohen is being tortured by Dr Jett, the estranged mother of his child, she uses a red rope, ear mufflers and mask in her attempt to administer a confession. These scarlett accents create a sense of constant threat which allows for continuity when certain details of the plot remain too ambiguous: why the two are estranged, what Cohen is being interrogated about, why he will hang if we will not confess, and crucially, how this all relates to the mysterious bombs dropping and the storm that is brewing. 

The script works well to furnish an overall atmosphere of tension. The questions of what constitutes being human, and what that means for love linger in some forceful, well-timed one-liners, like ‘hate is just love for the wrong reasons’, and ‘you think you need light to see?’. From estranged partners to office-mates and quirky new colleagues, how love is (in)corporated in these different contexts is important. A favourite moment of mine was when Cohen disregards his statement that he ‘only seeks justice for his son’ by forging documents for his captured colleague. The mood shifts. In darkness he converges on his imprisoned colleague and also a realisation of his capacity to shift loyalties, displaying compassion towards Jorg as well as his son. 

These different relationship dynamics allow for some great performances. Morgan has relatively few lines, however his micro-facial expressions and thoughtful physicality make for a subtle but commanding stage-presence. Lane and De Persia Colon have an instant chemistry as Mr White and Black respectively, a united front, they are in opposition to Cohen, and his tendency towards compassion. Their dynamic provides comic relief and also melodrama when cracks begin to show. Their banter over office minutia such as burnt coffee and the over-filled in-tray provide the ‘human’ aspect to their resources departments.

Overall, the performances feel relaxed and dynamic. Orla Hill as Dr Jett had an enjoyable arc. Her steeliness and sinister tone slowly revealed a hidden panic and lack of self-assuredness. Vivian Wang’s physical comedy as the quirky Jorg was consistent throughout the show, however attempts at almost constant comic moments meant other important beats, and lines, were missed. Lingquan Kong makes a brief, convincing appearance as a grieving wife, however this scene felt like an unnecessary or underused aside with not enough information to constitute a side-plot. Perhaps in a reworking of the script, more could be made of this moment.

Jodie Coulson’s sound design blends eerie vocals with radio static and the blowing out of lights to create a real sense of unease, reminiscent of other psychologically thrilling corporate dramas such as ‘Severance’. Voice-overs representing call-outs from the offices of the ‘Love Corporation’ along with references to the unknown leader ‘Lenin-/Lennon’ contribute to a sense of the ‘all-powerful’ corporation. However these are beginnings of narrative threads which were left unsewn. This was not to the detriment of the overall excitement of the plot, however it was difficult to connect the metaphorical allusions to love with the actual corporation. 

The largely precise technical choices contrast with the less polished scene transitions, wherein scraping chairs and obvious footsteps detract from the atmosphere of tension. I wonder if some sound or music would help in these shuffling semi-silences. By the same token, the use of repetitive black outs in these contributed to a sense of awkwardness and broke the tension. On the other hand, one excellent lighting choice included candles strewn across the floor amidst a red wash over the stage to signal contemplation after Cohen’s half-tortue. The lighting design team (Gemma Stapleton, Vivian Wang, Stan Hunt, Toby Collins) fashioned the denouement of the play well. 

All in all, this production is ambitious and has some strong moments. Collins’ direction is clear and well executed, however his script does a little less of the work than it could. The actors are utterly believable despite the heightened content. ‘Love Corporation’ is a gripping and intentional show with interesting themes of humanity and love, and a well-pitched take on the psychological thriller genre with lots of potential. 

‘Love Corporation’ is on at the Corpus Playroom from 7th November - 11th November.