A dynamic set composed of scaffolding suspended in mid-air, flickering neon lights and a blood-soaked Adam (Eric Hambro) disjointedly declaiming Radiohead’s ‘Creep’ was the first image the ADC Freshers’ lateshow DNA presented, and it typified what followed. Visually arresting, ably performed and occasionally dislocated. DNA focuses on a group of teenagers covering up what appears to be Adam’s death, drunken bullying having gone awry. Nominally lead by John (Fred Maynard), the powerhouse behind their cover-up is the enigmatic Phil (Alex Mackeith) who becomes increasingly authoritative as the group spirals into darker and more mordant actions.

Early on, brief scenes of terse dialogue and lingering silence created an oppressive tone which was reinforced by brilliant stage design and lighting;  particularly effective for the interspersing scenes in which Adam was symbolically circled and confronted. The cast were generally engaging, but the script leant most focus to the pairing of Leah and Phil, and it is on the strength of their performance that the play would rise or fall. It largely rose, each giving a captivating performance. Laura Profumo as Leah gave a first impression of a stereotypical chav that belay a nuanced characterisation of a darkly comic role. Her physical animation and expansive responses to Mackeith’s  passivity were never less than entertaining and she flitted from the darkly comedic to the truly dark with admirable ease. The majority of Mackeith’s work was speechless and he was able to remaining as resolutely still and unflinching as stone whilst being screamed at. This silence leant greater gravitas to when he did speak, and he commanded the stage even when not – rarely can buttering a waffle have seemed like such a theatrical event.

Issues could be made of some directorial decisions; Bryan’s (Charlie Parham) lapse from sentient conspirator into insanity was too abrupt to be fully convincing, and occasionally the stylised nature of the dialogue obscured the meaning it was intended to convey.  It was regularly funny in an off-beat way, but this was at the expense of a bleaker mood that a straighter production might have captured. The tension lessened in the scenes without the central coupling, for which possibly the writing was at fault, but this offers an explanation as to why it stretched to twenty minutes over the scheduled hour.There were some symptoms of first night teething issues - a character had to be fetched on stage during a blackout – but this was a minor flaw, and rarely can the first night of a late show have held such rapt attention from a near full capacity audience. It was deserved, too, and heralded the arrival of some immensely talented people who deserve to be seen, both here and in undoubtedly numerous future projects.