Scarlet Sunday

You must credit the verbatim feeling of the script to its writer James Alston, as he facilitates such open and honest conversation. While this reflects the archetypal characters, it is also relatable and invites us into the piece as silent contributors. The fact it is not an interactive play, but indeed a very immersive one, nods to the idea of reclaiming voices for those who are usually ignored. Camilla Aiko does this especially well and gives so much visibility to survivors of violence and abuse, while remaining truthful and respectful to this narrative. 

Cat Fuller’s choice to dress the antagonistic Sorcha Kennedy in a nylon long sleeved top, while this character regularly commented about being warm, was incredibly clever and akin to the portrayal of a ‘Curator of Modern Art’. As someone who was always talking about what's beneath while maintaining a professional exterior, this was a great metaphor for her character. Throughout the play she ignored her outfit and the fact it was impractical for fear of ruining her style or the way she looked. This was particularly poignant as the play closes in such a way that we can hear but no longer see her, rendering the entire charade pointless. 

This is mirrored in the layout of the space, with a split down the middle for both the cast and audience - a comment on divisiveness as a key theme. Not only did the creative team seem uninhibited by the black box space, they actively put it to good use. Without spoiling any scenes, it was such a fulfilling way to utilise all areas of the venue without accidentally devising a promenade piece.