Courier, a solo show written and performed by Piers Mackenzie and directed by Rachel McMurray, takes audiences on a darkly comedic ride through the life of Benny, a delivery cyclist navigating the streets of Cornwall during lockdown.
Benny, now dubbed an “Essential Worker” by the British PM Boris Johnson, races to complete another order to stay financially afloat while he chases his dream of becoming an actor and avoids returning to the maternal nest. As he pedals through his route, he engages in encounters that highlight modern life’s cruel absurdity and loneliness. The latter is interesting, given that the UK has a Minister for Loneliness and the statistics coming out about loneliness being a killer and potentially shaving decades off a person’s life. This is an issue the UK government started to address even before the coronavirus outbreak.
The initial impression of the show may lead some to view it as a bit clichéd. The tropes of a lonely female and fickle female are perhaps his best-acted parts; however, these and some of his other characters lacked depth at times. At other times, characters almost merge together. However, solo shows are tough to pull off in this regard. Some of the lines and scenes delivered were, unfortunately, common tropes.
Yet, just as one settles into this rhythm of familiarity, Courier delivers a twist that reshapes the entire narrative and forces the viewer to reconsider any previous judgements. Though it’s a challenge to discuss the show’s impact without revealing this pivotal moment, it’s safe to say that it invites the audience to reflect and reconsider what has come before. The twist adds layers to Benny’s character and the story itself, compelling us to reflect on the complexities and loneliness of our times and COVID-19 in general.
Whilst the perils of being a food courier and the exploitative nature of the gig economy and food delivery services are addressed, I was left feeling that could have been explored in greater depth.
The body comedy of MacKenzie riding his bike was deftly captured and made me reflect on how much I disliked riding a bike these days, but how silly I used to ride when I was a child coming home from school.
The credits at the end offered a surprise easter-egg and some laughs too. This was very cleverly done.
In the end, Courier leaves a curious impression. While it may initially feel like a straightforward tale of a delivery cyclist, it evolves into something more profound. MacKenzie’s performance ultimately leads us to question our perceptions of reality and the stories beneath the surface. Whether one considers the twist redemptive or just a parlour trick is subjective, but it undeniably sparks discussion and was broadly enjoyable.
C.J. O’HARTE
Courier, presented by Split Roots Productions and The Blue Room Theatre, ran from 4 – 8 Feb 2025 as part of their Summer Nights program.
