I was fortunate enough to see Compression Test at Durham Fringe, presented by 92 Beats Theatre. Directed by James Weaver and Lily Blakeman, with a script by Molly O’Donnell and Lily Blakeman, the production stars Harrison Rowley-Lynn and Molly O’Donnell in an intimate two-hander.
Set during the hottest day of the year, Compression Test takes place inside a sweltering flat where the windows are open, the fan is working overtime and the oppressive heat mirrors the emotional temperature of the room. Andie has recently come out as trans masculine, while Harriet is trying to come to terms with how their relationship is changing. Conversations that have long been avoided can no longer be ignored, forcing both characters to confront difficult truths about identity, love and whether a relationship can survive when the people within it are evolving in different ways.
The production was staged simply within a studio space, wisely avoiding unnecessary distractions. The minimalist set allows the audience to concentrate on the performances and, more importantly, the conversations unfolding between the couple. Practical lighting keeps the action grounded in realism, while subtle lighting changes effectively signal scene transitions without interrupting the natural rhythm of the piece.
The writing is undoubtedly one of the production’s strongest assets. The dialogue feels authentic and lived-in, avoiding melodrama in favour of believable exchanges that many audiences will recognise from real relationships. Rather than presenting larger-than-life characters, Compression Test focuses on ordinary people navigating extraordinary emotional circumstances. The script demonstrates thoughtful research and treats its subject matter with care, allowing difficult conversations to unfold honestly rather than offering simplistic answers.
As the play progresses, the pressure inside both the flat and the relationship steadily increases. The growing emotional strain between Andie and Harriet is evident throughout, with each scene revealing another layer of uncertainty, frustration and affection. The directing supports this progression well, ensuring the story remains clear and allowing the emotional beats to develop naturally.
For me, however, the performances were the area with the greatest room for development. While both actors clearly understood their characters, I felt the emotional intensity didn’t always reach the heights the script seemed to demand. Several key moments hinted at powerful confrontations but stopped just short of delivering the full emotional impact. I was left wanting a greater crescendo as the production approached its conclusion, with an ending that felt slightly more restrained than I had anticipated after the tension built throughout the play.
That said, Compression Test deserves recognition for tackling contemporary themes with sensitivity and honesty. It presents its characters without judgement, allowing audiences to engage with the complexities of identity and relationships through genuine human interaction rather than political statement. The conversations feel grounded, relatable and sincere, making the play accessible regardless of a viewer’s familiarity with the subject matter.
Overall, Compression Test is a thoughtful and well-written production with clear artistic ambition. Its authentic script and considered direction provide strong foundations, while the believable characterisation keeps the audience invested. Stronger performances and a more emotionally explosive finale would elevate the production further, but there is much here to admire.
Theatre Village awards Compression Test 3 stars. A thoughtful, authentic drama whose compelling writing shines brightest
92 Beats (@92beats_theatre) • Instagram photos and videos
About the Author
