Some reviews start with a memory: four years ago, at the Bush Library – an open space with stacks of books all over, the same space occupied by the Bush Theatre today, expect without walls, or proper seating or playtexts for wallpaper in the toilets – I saw Simon Stephens’ Sea Wall. I remember entering and two things were worth noting: even though it was ten minutes before the start, Andrew Scott was already pacing on stage and Ben Whishaw was in the audience. And then it started. And many more things were worth noting and remembering and in the end it went down as one of my best (distinct, powerful) experiences at the theatre.
How does the production at the Shed compare with that memory? On the minus side, I knew what was coming (whatever you do, don’t read spoilers). On the plus side, I knew what was coming (somewhere in the first ten minutes, my heart started pounding while the story was about packing for holidays and travel arrangements). Which is the genius of Simon Stephens’ text, and Andrew Scott’s performance and George Perrin’s direction: it’s artful and skilled in not being artful at all, playing out as real life, when a split second of a moment, without an explanation or a calling card or a lesson, punches you in the stomach and leaves you drowning and unable to make sense of anything for the rest of your life. Continue reading