Met with vivid blue lighting and an in-the-round style performance space, it was easy to be daunted by the intimacy of Ringing’s set on first glance, particularly when armed with pen and paper as a reviewer. Yet this immersive and up-front style was ideal for the play’s interiorised and personal character. Speaking from experience, it can prove tougher to act in these small spaces than on a stage like the ADC. Connection with the audience is vital, especially when they are in eyeline, and the actors performing in Ringing masterfully meet this demand.

Staged in four quadrants, Ringing showcases the talent of student-written theatre in its sensitive exploration of tense and honest family relations amid life’s pressures. Aditi Rai Sia Mei Ann’s script captures the relatable feeling of separation – where bonds rely on the intangible connection of a phone line. What was most striking was the play’s relevance to its audience of Cambridge students, depicting young people living away from home and loved ones likely for the first time. Ringing’s writing underscores the secrets that can be hidden over the phone, as we are exposed to a series of revelations about the characters’ lives. Yet the close relationships between these siblings are still prominent, reflecting the difficult contradictions of family life.

“What was most striking was the play’s relevance to its audience of Cambridge students”

The staging of the play was impactful in the small space of Pembroke New Cellars, using four sections of each stage to appeal to each audience side. Edward Campbell, as director, clearly considered his audience deeply and ensured that no side was left not being able to see the onstage action. The set proved intriguing and creative, allowing us to see a fragment of each characters’ lives. Clara’s corporate desk, Giselle’s lab, Carmen’s university dorm and John’s child-immersed living room were cleverly depicted through the careful use of symbolic props. Lighting likewise was an active presence throughout the production, signalling transitions with the return to the opening ominous blue wash, paired with classical music. Design was particularly effective during the final moments of the play, when the siblings found out pivotal and shattering information regarding their father (no spoilers here!). The rising volume and overlapping voices of the actors on stage was coupled with an increasingly loud sound effect of coinciding ambient noise, symbolising the mounting tension.

The talent of the cast contributed greatly to the production’s emotional effect. Isadora Vargas Mafort, portraying Carmen, embodied both the typical teenage experience of moving out and more severe issues involving alcohol abuse. This was excellently conveyed through Vargas Mafort’s trembling tone and fidgety mannerisms during her monologue where she is opening up about this struggle. Monty Bolton as John was outstanding in his ability to blend witty humour and sober emotion, strikingly candid in his discussion of fatherhood and its deep anxieties. Characterised by a caring, mothering tendency to her siblings, Clara’s uptight and morally orthodox personality unravelled as the plot went on. Juliette Imbert’s acting, perfectly brought this complex character to life through her signalling of a deeply rooted trauma in this neat character. Having seen Gabrielle Kurniawan in Private Lives last week, I knew her performance presence was captivating. Yet a different side to her acting ability was shown in Ringing, equally as convincing and compelling in her portrayal of Giselle’s cool, level-headed approach to the complications of familial life. The ideal combination of Edward Campbell’s direction and Aditi Rai Sia Mei Ann’s writing allowed for each actor to showcase their talents on the stage, with monologues and duologues highlighting their individual skill while they were also able to bounce off the dramatic energies of each other.

“This production provides an up-close insight into relationships and the significance of communication in the face of separation”

While getting to know the characters and their individual life experiences was important, it did feel as if too much time was spent on this. This caused the central tragedy shared between the siblings (still no spoilers!) to become almost too rushed. Although it did add to a sense of dramatic reveal, perhaps hints or an earlier revelation of the issue at the play’s core would allow for a greater dramatic impact through depicting the siblings’ reactions to this in depth. As audiences, we were left not knowing what happened to the individual characters and their respective issues. This may be part of the production’s intention, reflecting the uncertain and suspended elements of reality yet I was left wanting to know more about what happens to the characters after the central tragedy. It seemed as if these issues were left unexplored and hanging – to which one of the only solutions would be to extend this captivating production, as I was left wanting more than one hour!

Encapsulating the absurd intimacy of having pivotal conversations over a phoneline, Ringing brings a fresh, modern and relevant take to the family drama genre. Relatable and brimming with heart-wrenching moments, this production provides an up-close insight into relationships and the significance of communication in the face of separation.

Ringing runs from Tuesday 17th- Saturday 21st February at Pembroke New Cellars.