Shifting moralities

Loosely based on a real-life news story, Fast Labour is about an economic migrant who exploits a market where factories are prepared to turn a blind eye to legal status in their desperation for casual workers. 

The subject matter may lead one to expect heavy-handed moralising, but Steven Waters's play largely eschews this and finds humour in grim recognition. 

It opens to the raucous strains of Led Zeppelin and multimedia images of a fish processing plant on the east coast of Scotland. Into this environment steps Victor (Craig Kelly), who is freshly arrived from eastern Europe. The only words of English that he can speak are "thank you" and "want to work" and his only possessions are the tattered clothes on his back.

It's hard not to feel sorry for him at this stage, but one of the drama's strengths is the way in which it plays the audience for their sympathies. 
It's not long before he's used his ambition and cunning to carve out a deal in human trade with Grimmer (Mark Jax), the gangmaster for whom he works and, from there, it's only a small step to becoming the kingpin himself.

His progress from immigrant to gangmaster is cleverly plotted out so that the distinctions between right and wrong are blurred - he's a great entrepreneur, yet, in his greed, he's happy to embrace poor conditions for his workers. "Better to be the shark than the plankton," he says.  Likewise, Grimmer takes advantage of the black economy, but, in so doing, he fills posts that local people have spurned.

The way in which Victor benefits from the free market and subcontracting - and also how current legislation means that the country's economy loses out on his potential - is cleverly detailed in terms of this ever shifting moral ground. 

National identity and class are also touched upon in his social aspirations - the deal that he strikes with Grimmer is made in the latter's country house, where he talks of the English love of gardening. Victor's bourgeois abode on the outskirts of Kings Lynn, where his dreams unravel, is set in a similar location amid talk of weeds and perennials.

Many of the play's key ideas are introduced in the first two acts, but, despite this and the shifting locations, the plot never feels hurried. 

In contrast, the third act lacks cohesion and the non-judgemental balance starts to strain. 

Set entirely in Victor's newly built house, the appearance of his Ukrainian wife lacks explanation and she doesn't add much to the plot beyond a new moral dimension. Furthermore, the climax of the play doesn't have the shock impact that it deserves and the collapse of Victor's empire feels too hurried.

Despite these weaknesses, however, there remains much in the play's favour. The constantly flickering video screens provide effective shorthand location prompts, such as when the migrants are sitting at a roadside awaiting a lift, and the acting is strong and well-paced thanks to Ian Brown's direction. 

This ensures that the play successfully presents a balanced argument without ever labouring its point.

Plays until May 17. Box office: (0113) 213-7700. Transfers to Hampstead Theatre from May 30-June 21.