Where There Is No Time ⭐️⭐️

“Clothes have this ability to unite us; they represent a place in time. They speak about us as much as they serve a purpose for us.” Yusuf. Visionary designer. Son. Dreamer. Nina. Lifelong friend. Muse. On the brink of his autumn show, new money swoops in to save Yusuf’s company — at a price. As investors close in, Yusuf must choose between his mother’s legacy and the future he’s always craved.

Direction by Hamza Ali is, unfortunately, a bit of a mixed bag. The pacing feels inconsistent throughout, moments that really needed space to land are rushed through, while others linger far beyond their welcome. The phone call sequences, in particular, move at such speed that any sense of realism disappears entirely. There are also some staging choices that feel confusing rather than intentional. The final section, where characters dodge Yusuf lacks clarity and ends up feeling more distracting than impactful. It’s a moment that would honestly benefit from being rethought or cut entirely. Similarly, some basic blocking choices, like characters not exiting through the same doors they entered and a reporter being so far away just breaks the logic of the reality its meant to be set in.

The set design is simple and effective, offering a clean and modest framework for the story. There’s a nice sense of practicality to the design, it doesn’t overcomplicate things and allows the narrative to take centre stage. However, the large scene transition which unnecessarily drawn out, which interrupts the flow and adds to the pacing issues already present. A tighter approach here would make a noticeable difference.

Lighting also lands somewhere in the middle. The general washes are pleasant and do their job well in establishing mood and location. However, some of the more stylised choices don’t quite hit the mark—particularly a flashing light sequence that’s so subtle it almost goes unnoticed (blink and you’ll miss it… literally). That said, the first use of this effect is effective and shows glimpses of a stronger design that could have been pushed further.

The sound is serviceable overall, but not without its issues. The most noticeable being the ringtone, which is unnaturally loud, less “natural interruption” and more “jump scare”. It pulls you out of the moments rather than grounding you in it.

The book by Mohammedally Hashemi struggles to fully deliver on its premise. While there is a somewhat clear storyline, it feels underdeveloped and flimsy at best which lacks the depth needed to truly engage the audience. A key turning point for Yusuf arrives without sufficient build-up, meaning the emotional payoff simply isn’t there.

The book attempts to generate tension, but instead of gripping drama, it often veers into awkwardness. The most compelling thread (the conflict between the two women) feels like it’s only scratched at surface level, never fully explored. Once the initial intrigue fades, there isn’t enough substance to sustain interest. There’s definitely potential here, but it would benefit from significant rewrites to deepen character relationships and raise the stakes.

Performances by Mohammedally Hashemi as Yusuf are solid, with a clear understanding of the character’s external journey. However, due to the limitations of the script, the performance never quite reaches the emotional depth needed for us to fully invest. There’s a sense that more could be uncovered with stronger material and a more defined arc.

Kerena Jagpal as Nina and Milly Zero as Suzann both deliver committed performances and bring energy to the stage. However, they face the same challenge—the writing doesn’t give them enough to work with beyond surface-level characterisation. As a result, while the performances are good, they don’t quite leave a lasting emotional impact. You can see the potential across the cast, but everyone feels slightly held back by the material.

Where There Is No Time presents an intriguing concept with flashes of promise, but ultimately struggles to fully realise its potential. With uneven pacing, underdeveloped writing, and inconsistent direction, it never quite finds its footing. That said, there are solid performances and moments of creativity that hint at what the piece could become with further development. A tighter script and clearer directorial vision would go a long way in elevating this production.

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