The Algebra of Freedom

It's not unusual to find characters haunted by the past in plays with serious subject matters, but this phenomenon is rarely illustrated so boldly as in Raman Mundair's new play for troubled political theatre company 7:84.

Some may be uncomfortable with the ghostly dimension to this drama, inspired by the shooting of Jean Charles de Menezes, but strong performances and a thoughtful script make for a respectful meditation on freedom, guilt and forgiveness.

Poet and playwright Raman Mundair has made a huge leap from the heavy-handed Side Effects, presented last year by the National Theatre of Scotland Young Company, and while The Algebra of Freedom is not perfect, it is insightful and neatly structured. In contrast to some 7:84-comissioned work, there is room for the characters to breathe, not just to exchange stiff lines of polemical dialogue.

Oliver Miceli is superb in the daunting role of the relentlessly cheerful Brazilian credited only as 'Man', matched by Robert Jack as the guilt-stricken police officer who can't forget him. Maryam Hamidi is also memorable as the enigmatic Fatima, determined that her husband Parvez (Simon Rivers) won't allow himself to be consumed by anger.

Director Jo Ronan, who along with Will Potts also co-designed the production's very effective sound design, makes light work of the play's many scene changes, helped by David Sneddon's flexible design.

7:84 needed to bounce back with a bold, timely production, and The Algebra of Freedom fits the bill.