I was greatly moved by Relaxed Theatre Company’s production of Any Little Thing. Following seven neighbours living in two houses on Stoneford Street in 2003, the play traces their friendships, infatuations and states of isolation to reveal, through devised group scenes, intimate duologues and longer set-piece monologues, a multi-faceted view of the ordinary. What does it mean to be not normal? A rich blend of funny yet devastating, awkward yet warm, Any Little Thing succeeds in touching on a diverse range of issues affecting young people now as much as it did 15 years ago. The pain of depression, racism, ableism, and homelessness are explored through their embodiments in diverse and intriguing characters that became more and more interesting as their interrelations were revealed along the course of the play.

What makes this play courageous and original is the Relaxed Theatre Company’s core concept of inclusivity “particularly towards disabled and mentally ill people” that overthrows the typical theatre-going conventions in favour of a relaxed and flexible environment. Before entering the show space, I received an information pack that functions as more than just a programme. Its content notices provide helpful information about potentially emotionally triggering moments, and content warnings list sensory parts of the play that may be “neurologically difficult”. The audience was told they could walk around, talk, and retreat to a “safe space” outside the auditorium at any point during the performance. A small audience number and dim houselights throughout were aimed at giving the play a spacious and easy-going feel.

It was a shame that the show’s goal of inclusivity proved limiting at times to the development of characterisation and plot. The play tries to take on so much raw emotion and so many social issues that it begins to become emotionally exhausting and loses a sense of theatrical playfulness. Perhaps Any Little Thing is trying to do too much all at once, and consequently, characters appear somewhat as snapshots. I would have appreciated seeing the evolution of particular relationships more. However, the play did succeed in making a statement about the limitations of empathy and the pain this brings.

Having said that, there is also much to praise in the performance. The writing, especially of the monologues, was well-paced and brilliantly naturalistic. Memories and anecdotes were beautifully inserted into speeches to make each character’s background seem real and relatable. Some group scenes, however, did not flow as smoothly as they could have. Notable exceptions were the party and the play’s incredible ending scene of reconciliation. The acting was occasionally wooden, but improved as the play progressed. Special mention goes to Imane Bou-Saboun as the nerdy but passionate and feisty Ayesha who tries to come to terms with the insidious racial discrimination she finds herself victim of. Imane’s clarity of diction was commendable, as was her captivating physicality and emotional complexity, especially in the delivery of her monologue. Equally vivid was Lisa Bernhardt’s portrayal of the autistic Star-Wars-obsessed Helena in her nuance of vocal tone and body-language. I was also particularly impressed by the sustained intensity of Harriet Philips playing the depressed Mallory, cracked and always on the brink of a tearful breakdown.

The set, lighting and sound of the production were simple but effective. Particularly memorable was a Tracy Eminesque bed on which Mallory spent her days, filled with clutter of vodka bottles, empty crisp packets, pills and cigarettes. A giant armchair draped in a Star Wars cover gave Helena what seemed to a mental recess in which she found comfort. I particularly liked how the set made it possible to have multiple scenes play out at once or intersect with one another, although this could have been developed even more. The sound clips used were touching and varied – ranging from indie lullabies by The Smiths to Bach’s Cello Suite No. 1.

Overall, Any Little Thing is an innovative theatrical experience that may not dazzle at every moment but contains instances of emotional complexity and lyrical writing that are well worth the ticket. Relaxed theatre shows itself to be anything but casual: the show is incredibly engaged in serious mental health issues and aims at social equality can be clearly seen thematically in the play as well in the way it is put on.

Any Little Thing is on at the Fitzpatrick Hall at 7.00pm, 24-27th January