For me, the best plays are the ones that have you thinking about them days after you have watched them. They're the ones that make you question certain things after the drama has finished. They're the ones that almost give you a new or clearer outlook on life itself. The Precariat is one of those plays.

This play about society, although fictive, is a chillingly real look at the precariats who sit on the bottom rung of the societal ladder. Chris Dunkley utilises the modern outlook of class structure as a base for his play. Going deeper than the simple lower, middle and upper class, Dunkley takes into account the new seven class structure known as the Great British Class Survey – a system introduced by academics from six universities and the BBC. This new class structure uses economic, cultural and social indicators as opposed to using occupation, education and wealth to determine class. The hierarchical system ranges from the affluent and influential elite right down to the working class living off the dregs of society – the precariats. Powerless and deprived, this group of socially inferior individuals face problems that the elite couldn't even dream of.

Problems surround Fin, the protagonist of the play, in the shape of a depressed and irresponsible mum, an alcoholic scrounger for a dad and an absent younger brother who has joined a local gang. Taking the lead role in his dysfunctional family, Fin is mentally years older than his fifteen year old self, with an acute knowledge of his social situation and of those above him. Scott Chambers is brilliant in the role of Fin; he embodies the role of a fifteen-year-old living in North London almost perfectly. The only thing that mars his performance is the deliverance of his speech: Chambers speaks a little too quickly, leaving you wondering what was said. Could it be the nerves of the night that sped up Chamber's speech or could it simply be his way of playing a fifteen year old fuelled by anger and stress? Whichever one it is, Chambers still delivers a precise and inspired performance.

Not to be outshone by her onstage son, Kirsty Besterman, who plays Fin's mother Bethan, is a joy to watch. Her acting skills are put to the test as she is comically oblivious to the dire situation that surrounds her in one instance, but is then plunged into the darkness of her depression in the next. Her execution is perfect. Although she is an awful mother, you can't help but adore her character. Besterman also takes on the voice of Sally, Fin's colleague on the drive-thru intercom at a fast food restaurant. Although she is only heard on stage, she is an imperative addition to the play. She provides an outlet for Fin's worries, but also provides some of the humour that is so refreshing in the production. The comical aspect in The Precariat is a clever and appropriate choice because the strong message that the play conveys could come across too heavily and sit uneasily with the audience. However, the humour in the play almost dilutes the intensity of the subject matter and makes it easier to digest.

Another successful addition to the play is the use of multimedia. A cosy armchair and a lived-in sofa decorate the small set with lamps positioned on either side of the stage. However, what attracts the most attention is a cluster of TVs located centre stage. They vary in size and look out of place, one TV in a living room is considered normal but five? Their function becomes clear once the play progresses. The TVs flicker to life to show video footage, social media feeds and scenes that take place in the play that aren't acted. A video that Fin records for his mum is shown on one of the TV screens and we meet Balthazar, gang leader and drug dealer, only through his interaction with Fin on the TV screens. The inclusion of this multimedia gives The Precariat another dimension. It allows the play to proceed smoothly without the need for elaborate set changes, and it also highlights the growing significance of technology in the modern world.

There is a sense of familiarity when watching this realistic drama; maybe it's the references to certain places in London or the inclusion of real life events such as the London Riots. The references present a sense of reality as the play takes you past the imaginative and offers something real and authentic to visualise. However, the most recognisable and upsetting aspect of the play is the fact that it is a reality to so many people right now. A thought-provoking and literal look at society; The Precariat is a promising play with a message for all.

The Precariat, at Finborough TheatreSymone Keisha reviews The Precariat at the Finborough Theatre.4