The ethics of teens and young people on social media is somehow still a topic of debate. This is mainly due to cyberbullying, which is somehow still a growing issue amongst teenagers. Maybe it shouldn’t be any longer, but either way, no attempt will be made here to sway people to one side or the other. Instead, here’s a show that makes its own argument on the subject. Inspired by true experiences of the today’s youth, Cookies is a play by Emily Jenkins that shows the dangers of cyberbullying, and paints a harsh but real picture of the dangers of social media.
Cookies is a play by Emily Jenkins that shows the dangers of cyberbullying, and paints a harsh but real picture of the dangers of social media.
Cookies includes a diverse cast with an ample of amount actors, though the focus is around a select few specific characters all experiencing the negative ramifications of online interactions in different ways. Revenge porn, character assassination, grooming, and online radicalization are at the epicentre of the play’s plot, showing how teens so easily get wrapped up in these otherwise avoidable scenarios. Each character uniquely comes with their own story, interacting with the audience and each other through ‘text talk’ and even including punctuation in their dialogue so as to outline the inflection of what they’re trying to convey. It’s a play unlike anything adult audiences are likely to have seen produced on a stage, but teens and young adults alike are sure to understand where it is coming from without too much issue.
The entire cast’s performance is driven by energetic and over-emotional attitude (a heightened version of how teenagers behave) in addition to relying heavily on hyperactive physicality and choreographed movement. The set, lighting, and sound design give the play additional artistry. Everything is cued effectively, well lit, and the projector screen on the backdrop is a critical component in the storytelling as a whole. Director Ann Ledwich is the clear champion in all that encompasses the show, assisted successfully by the show’s movement coordinator Natasha Khamjani in creating a production that shows a physical take on an essentially emotional concept. The actors perform passionately, not a false note anywhere, and with authentic motivation that brings Jenkins writing off the page in a spirited manner. Jenkins writing oozes legitimacy, even though the production is directed in an extremely stylized way. Everyone involved forcefully grants Cookies its far overdue staging. Their presentation of these truthfully inspired accounts is one that will probably touch nerves, potentially offend, but also, make viewers empathize in ways they may not have realized possible.
In the mood for something different? This play would qualify. The production which was recorded in 2017 is available for free viewing on whatsonstage.com and masterclass.org.uk. Theatre fans may be interested, and it only runs in one act. Be advised though: It’s not for weak minds, the easily offended, or the effortlessly triggered. For viewers who’ve actually experienced the content of this production, it may not be worth reliving. To those fortunate enough to have not, here’s a chance to understand the plight of those who weren’t so fortunate.
