Roadkill

Let’s be very clear about one thing: Roadkill is a very disturbing experience. It is almost relentless in its portrayal of the life of a young girl who has been forced into prostitution, and it will unnerve you.

The production starts on a bus in front of the Traverse. Two people, a young girl and an older "auntie" join the group. The young girl is excited, making bubbly chat with everyone and funny observations of the city.

When the bus comes to a stop, the audience are ushered into a flat, where for the next hour they watch as the young girl is raped and then made to service a line of men. It is told through a mixture of text, images and projections, and it is constantly harsh.

It is also brilliantly executed. Cora Bissett has always been a strong director but there is a more maturity to her skill here. She has managed to make an unpleasant story into compelling theatre, and though it is always difficult to watch, it is also highly theatrical, political and full of energy and ideas.

John Kazek, who plays multiple roles, and Adura Onashile, who plays the madam of the house, are both excellent in their performances, playing characters that are unlikable but still oddly compelling. However, it is Mercy Ojelade, who plays young Mary, who is a revelation. She is called on to play many difficult scenes, and is phenomenal in each of them. Her performance is a powerhouse of emotion, and she will linger in one’s memory for a long time.

Roadkill is not an enjoyable experience, but it is essential theatre. It is full of anger without being patronising, but more importantly it will make its audience actively question Britain’s approach to sex trafficking and immigration laws. This should be seen by as many people as possible, especially those in political power.