Hugh Wyld and Max Barton’s production of The Shape of Things by Neil Labute was innovative, slick and wonderfully refreshing. A play with tension so palpable and utterly stomach churning, last night's performance was of a standard rarely seen in Cambridge

The play portrays the power of art and its influence over four characters who constantly search for love and answers to their often inexplicable actions. Set in a small university town, we watch two couples, all students, becoming emotionally and physically involved with one another.

Will Attenborough’s portrayal of Adam, an initially shy and nervous English student, is wonderfully compelling from start to finish. Physically, Attenborough has the most challenging role in the play, and he tackles Adam’s metamorphosis into a confident young man with sensitivity, humour and visceral integrity. At the climatic point of the play, which I don’t wish to spoil, Attenborough’s embodiment and expressions express everything the audience is feeling: sick. All four actors have a great connection with one another. It was such a joy to see characters looking into each other’s eyes and saying what they mean; something so simple, yet so seldom seen in Cambridge theatre. Wyld and Barton have obviously been meticulous in their character development, as the audience seemed to understand events and intentions that were left unresolved and unsaid.

Eve Hedderwick Turner conveyed Evelyn with the appropriate chillingness and complexity needed from the character. However, she lacked a certain vulnerability or a flash of humanity, which as an audience member I craved. Her long monologue towards the end was exceptionally well delivered; she had control over the audience at the same time as repelling them.

Two character’s who I left longing to have seen more of were Jenny (Jessie Wyld) and Philip (Jason Forbes). Forbes’ comic timing is second to none and brought new depths to, at times, a cliché script. One could feel the audience gravitating towards him and it was hard to take your gaze off with him or Wyld. Even during moments when Wyld had her back to the audience, we could feel every emotion exuding from her.

Wyld and Barton’s direction is exciting and reason enough alone to see the play. They must be commended for their use of Corpus Playroom, which can often present a tricky space. Something that particularly stood out was the inventive scene changes: they used simple blocks to construct each scene, moved by the actors who through their physicality kept the subtext of the play alive. A shape created on the floor, which initially appeared to convey a barrier around an art display eventually came to symbolise something much more sinister: a human target.

The character Evelyn says “I don’t like art that is not true”. Well, neither do I. The Shape of Things is a wonderful depiction of the truth of art and human nature; sometimes even too truthful. It is set to be a highlight of this term.