Hope Has a Happy Meal (NHB Modern Plays)

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Lor is angry with Hope because she feels betrayed and abandoned when Hope left — and 24 years is a long time to wait for reconciliation.

Follow Hope on a surreal and frenetic quest through a hyper-capitalist country in this new play by Tom Fowler , directed by Royal Court Associate Director, Lucy Morrison. But in the People’s Republic of Ko k a Kola – a world of dwindling resources, corruption and corporate giants – what happens to Hope? The reveal to Hope’s backstory isn’t as interesting as the shenanigans that preceded it, and we never discover what has motivated her to come back at this particular moment. They have everything from basic sourdoughs and baguettes to ciabatta, mini savoury filled focaccias and even Breton Kouign Amann. The Sea, The Sea – named after Iris Murdoch's Booker-winning novel – brings stylish seafood to Chelsea’s Pavilion Road, with a fishmonger and deli by day, restaurant and champagne bar by night.Amaka Okafor’s Lor is convincingly passionate, and the women are well supported by Nima Taleghani’s Ali and Felix Scott’s Wayne. Disney Quarry, Facebook Forest, and BP Nature Reserve all feature on her surreal, tragic, and redemptive journey via Koka Kola Railways. That’s absolutely fine, by the way, but I can’t help feeling that with characters this strong and a story this interesting, it might be a small, missed opportunity. Felix Scott is hilarious as the smooth talking Koka Kola Airlines captain, who multi-roles as Wayne the murderous cop (Wayne incidentally gets a national holiday in his name by the end of the play). Naomi Dawson’s design combines with Annie May Fletcher’s sound to establish just the right note of cheerfully fluorescent unease for the none-too-distant dystopia Fowler has imagined.

I also like the psychological insights, expressed perhaps most directly in the clown game show sequence, and the drunken episode when Hope and Lor get plastered. Perhaps its strongest message is about community togetherness and the power of people, though it never doubles down. However, the play loses momentum when the group reaches the now-defunct commune, meeting Hope’s sister, Lor (Amaka Okafor). Nima Taleghani is entirely loveable as Ali, the forest ranger who Hope and Isla discover trying to commit suicide because there is no forest to look after.

The play does a decent job at attempting to answer some of those questions, where others are left lingering. This show contains strobe, haze, smoking on stage, flashing lights, very loud and sudden noise, including gun shots, strong language and staged violence that some may find distressing. When Hope befriends Isla, a young woman raising her baby nephew, the two quickly find themselves on the run. Along the way, Wizard of Oz style, they meet a scarecrow – sorry – forestry worker (Ali) who is depressed at losing their job when it’s revealed Facebook Forest will be cut down and replaced by flats. But in the People's Republic of Koka Kola – a world of dwindling resources, corruption and corporate giants – what happens to Hope?

When protagonist Hope lands at Nike International Airport after 24 years abroad, she knows everything has changed. This comes into play when a guilt-stricken Hope dreams about an uncannily familiar red, white and yellow clown – complete with hilariously bleeped out name – aggressively judging her failings. I don’t think I’ve ever seen a show at The Royal Court with a weak cast, and Hope has a Happy Meal is no different.A nod to Annie May Fletcher is a must for their sound design; it is key to the fast pace of the piece, with transition sound effects aiding jumps forward in time. Laura Checkley as protagonist Hope is endearing, down to earth and funny, especially when she busts out the dance moves. Not only that, Fletcher managed to feature a baby crying, frequently, without it irritating me; quite the feat!

The piece runs out of steam before Isla gets a meaningful conclusion, but to Malone’s credit she handles the final scene perfectly; and made me care more for Isla than any other character. The People’s Republic of Koka Kola is a dystopian capitalist cess pit – a country which used to be a democracy and is now dominated by the most powerful brands representing the most extreme form of capitalism. All we end up learning is that everyone is finding life hard right now, what with climate change, fascists and whatnot. In the end I found it playful but not an effective critique of capitalism, nor a particularly hopeful piece about redemption, nor a strong rejection or message about police brutality or domestic abuse. It's an opening that works by holding its nerve, building up the humour by leaving us not knowing where it’s going.Perhaps the most notable example of that is in Lucy Morrison’s direction which is creative, intuitive, and dynamic. He gives the actors lots to work with, and Royal Court Associate Director Lucy Morrison adds physical flair and playfulness to the piece.