Theatre

In an era where people express their emotions through their Facebook status and share music tastes via MySpace profiles, Pilot's 'Looking for JJ' is an appropriately spectacular multi-media explosion bursting onto York Theatre Royal's main stage this October.

Incorporating almost every contemporary medium of communication, Pilot cleverly depict the ways in which today's media can utterly expose the truth or, conversely, obscure it until it is untraceable. Whilst the lead character, Alice, desperately tries to conceal her dark childhood years through the anonymity of online blogging, the newspapers chase her without mercy and attempt to pull the plug on her new beginning.

Alice has not always been Alice. When she was ten years old she committed a crime so horrific that means persecution for the rest of her life. She is Jennifer Jones, a name that within this fictional world holds the same weight as Mary Bell does in our reality.

The novel by Ann Cassidy is currently a cult hit with teenagers across the UK and, as always, Pilot have their finger on the pulse. Marcus Romer's adaptation is superb. It is fragmented and spliced in such a way that the audience is never bored or patronised. Concentration is the only way to keep up with the pace and the broken nature of the piece ensures the tension never drops for a moment.

In balance with the frenetic nature of spliced music, movies and picture stills on an impressive, movable cyclorama, the performances are bold and simple. Christina Baily as JJ bares her soul to the audience in direct addresses that are perfect for the company's target teenage audience and suit the blog framework that the adaptation adopts.

It is a performance that will make you feel elated and uncomfortable in equal measure, pushing relevant questions about redemption and forgiveness to the surface. Christina's characterisation is so full of strength and warmth the audience uncomfortably writhe in their seats as they realise they are rooting for her to get away with it.

The supporting cast are equally superb, switching between numerous roles effortlessly and pulling off the difficult task of adults playing children with panache. The energy levels remain in top gear throughout and the original soundtrack is chillingly eerie, it gives even greater magnitude to the rising tension and is a credit to composer Sandy Nuttgens. As with 'Sing Yer Heart Out For the Lads' Pilot have confronted difficult issues in an innovative, fresh and accessible fashion which leaves your head buzzing with thoughts and discussions. A fantastic show.