What is more important, one person or everyone? This is a question that can justify the seemingly rational decision over and above the welfare of the individual. The sacrifice of one for the group at large, is it heroic or simply self-seeking? This dilemma lies at the heart of DNA.

The adolescent brain is a strange landscape capable of staggering peaks of understanding and cold depths of egocentricity. No wonder many people have High School on the list of the best and the most traumatic times of their life.

In recent months public attention has been drawn to horrendous cases of bullying of young adults in schools and the workplace. There are many works that deal with the subject of group sanctioned bullying, The Lord of the Flies for example, and the awful nightmare than can arise from a moment’s lapse in judgement as in Zeal Theatre’s The Stones. In this vein is Dennis Kelly’s DNA – Deoxyribonucleic Acid, a tight, unsettling and honestly raw glimpse at adolescent/young adult group dynamics that shows how an event can change people and their relationships.

The play opens with an interchange between two agitated school students, Jan (Brianna Williams) and Mark (Andrew Dawson), and a shocking announcement – someone is dead! Proper dead, not living dead and it’s not funny. We are introduced to a larger group of school students at their regular hang out in the woods, and they’re scared. Some cry, some act weird, some obsess about teeth, some threaten – but they’re all clearly terrified. A story of victimisation emerges fuelled by peer pressure and the violence that can result. The group is now in trouble and the smart one, Phil (Liam Graham), is called upon to fix the situation.

Structurally, DNA is interesting. The play consists of rhythmic strands usually beginning with a short, but tense, interchange between the characters Jan and Mark, setting up a plot point. This is followed by a monologue from Leah (Sophie Kesteven) at a frustratingly unresponsive Phil that explores her emotional state and often that of the rest of the group. This leads to a larger scene involving more of the characters that often calls on Phil’s problem solving abilities. The dialogue is terrific, funny, poignant and unfalteringly true. The plot is black with some lovely twists which almost, but don’t quite test credibility.

DNA gives the WAYTCo ensemble a great performing platform. The play offers eleven strong young roles for young actors – a real gift. (It’s also interesting to note that the playwright, Dennis Kelly, has not given specific genders to the roles.) Director, Renato Fabretti, has cast well and encouraged some stand out performances in this show.

In general, the performers give this compelling production their best. The group scenes are well executed in terms of tension between the different characters keeping the audience on its toes. Anything can happen and the threat of violence is so tangible that the moments of humour are a real relief.

The lead role of Leah is a dream come true for monologues – it’s got to be an age group favourite for auditions! Sophie Kesteven is brilliant in this part. She has spot on comic timing and captures the seesaw of frustration and infatuation in Leah’s relationship with Phil.

Liam Graham is unnerving as the almost psychopathic Phil. His clear-headed coldness in dealing with the various situations that require his intervention and the way he alienates Leah are frightening. The one hope he shows of joining humanity is the character’s self-imposed isolation at the end and Graham plays this well.

The play has been ‘Australianised’ from its UK origins,probably to allow the actors to keep their own accents. The soundscape included Australian birdcalls but there were a few things in the text that just gave it a European feel – the main one being the hedge that becomes a feature in the storyline. Hedges just scream English countryside, but overall this minor sticking point is a small price to pay for accent consistency.

The set design consists of shopping trolleys on wood chips strewn with deciduous autumnal toned leaves – perhaps a nod to the play’s origins? Most of the action between Leah and Phil occurs on a small bench placed beside a tower of stacked shopping trolleys upstage. A couple of abandoned trolleys lie like fallen trees giving the impression of an urban jungle, or in this case, a wood. The staging is effective, although dusty, and I did feel sorry for Brian (Michael Collins) who had some very close contact with the dirt.

WAYTCo’s DNA is top-notch fare, a fabulous play that deserves a longer season.

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