This new one-act play advertises itself as "A Christmas Carol for the Internet generation" but unfortunately doesn't quite live up to its billing. Full of foul and explicit language, yet light-hearted and even hilarious at times, the play whizzes us from a reformed Scrooge not understanding why Bob Cratchit doesn't want him at their family Christmas celebrations, to a minimalist flat in the present day where Brian Wilkins (Brian Doherty) is alone on Christmas Eve, having ordered a turkey and stuffing-topped pizza delivery. A modern-day Scrooge and drunken, racist bigot, the central character doesn't give us much to like about him. His ex-wife refuses to let him speak to their 12-year old daughter, and he fully admits that he has been "a shit husband and a shit father". He alternates between self-pity and self-hate, admitting that he is a successful only as a producer of crap TV shows. Himself a failure in almost every sphere, and insulting everyone he meets, there is, despite everything, something likeable in Doherty's portrayal of the cocaine-snorting loser.
      We are treated to riotous party scenes, an AA meeting (where Brian's confession turns out to contain lies), ghosts in the form of Scrooge and Brian's dead father, and a sympathetic listener to Brian's travails and perhaps the only character to whom Brian shows any warmth at all (played by Mark Theodore). Scenery and lighting changes are minimal; however the actors and costumes manage to create the illusion of the chaos that is going on in Brian's sozzled head. The swearing, drug-taking and pornographic chatroom talk make the play unsuitable for children, and some scenes, such as one where two children (played by adult actors) discover Brian's passed-out body, think he is dead and go on to share the secret that Santa is dead too, are too simplistic for a mature audience. Yet the play overall is funny and even touching at times. The fourth wall is disturbingly broken with one scene, and the final tableau, where Brian successfully tracks down his daughter online, is colourful and well executed.
      Featuring 11 men who workshopped the play into existence under Anthony Neilson's direction, I don't see God in Ruins making it into any company's permanent repertoire: despite some bravura performances it's just a lightweight bit of seasonal fun.
Chris Brody