The first play to be staged in the first act was a one-off called "Spineless", written by Tobias Wright and directed by Bruce Adams. It centred on an employee who is about to be fired by his arrogant bully of a boss, until he turns the tables on her. The simple but effective script was scattered with acidity in the shape of Sophie Dickson as the boss that was effectively neutralised by the response of Daniel Ward as the employee and subsequent consequences announced by assistant Sophie Napleton. It was a good start to the evening.

The first of the two plays that were repeated was "Hopelessly Devoted to You", written by German Munoz, and featured a disabled and able-bodied couple whose relationship is challenged by the fact that the able-bodied person is a 'devotee' and has a fetish about disabilities, while the disabled person finds the thought initially abhorrent. They are coached through this difficult time by a 'psychoanalyst', who appears as a character on the edge of the action. The first production, directed by Susannah Tresilian, cast a boy-girl couple, with Thom Jackson as a disabled actor in the main role, supported by Rebecca D'Souza. The psychoanalyst was played by Hayley Doherty as a speakeasy chanteuse, singing the theme song "Totally Devoted to You" by Olivia Newton John. Her performance was haunting and created a balanced air of reason against the insistence of outrage from the disabled 'victim'.

In the second half the same play was repeated and directed by Amanda Castro, who cast a same-sex couple in her interpretation, played by Gemma Lawrence and Ines de Clerq. The psychoanalyst was portrayed by Kelda Holmes as a doctor on a radio station, which lent itself to the theme song being played 'on air' in between scenes. Both productions had positive aspects to them, but while the first production took my vote on the treatment of the psychoanalysts, the believability of the acting, both in portraying indignation and assertion of innocence in the second version was much stronger.

The second play that was repeated in both acts was called "The Endings" was directed by Rebecca Manson Jones in the first act and Melissa Dunne in the second. This was much more of an ambiguous script, which interpreted people's reactions to change and fears of the unknown through the loss of a friend called Egg. Both productions chose to cast adults as children, as implied by the script, but the style of acting for each production delivered a different experience. In the first version, the emphasis was on confidence that decreases, and I would particularly pick out Debbie Korley as Tiny. Her character started off looking downtrodden, but became stronger as the play progressed. Her eyes and movements were wonderfully expressive and endearing.

In the second version, it felt as if the emphasis was on confidence increasing. Kat Redstone gave the strongest performance as a neurotic 'Normal'. She was so intent on her character that her chair gave way beneath her! She coped with it in character, which only added to the performance.

Kat Redstone was also the lead in the one-off play staged in the second act, called "Never Said", written by Kim Yaged and directed by Tom Mansfield. She played an androgynous, sexually active character that has to choose between three previous and very different sexual partners, who vie and fight for his/her attention. I was impressed by her performance and will look out for her in future!

XY ran at Theatre 503 for Sunday and Monday night only; however, I thought the concept of repeating the same play directed by different people on the same night really fascinating, positive and a great talking point for debate. It added a whole new level to the experience of a night at the theatre, and it was clear that a great amount of effort had gone into making the night a success, without much budget. Well done to Papercut Productions - look out for future productions of this kind in our fringe theatres, they should be supported!

XY, at Theatre503Sara Fielding reviews XY at Theatre503.4