Review - You Can See The Hills
Venue: The Royal Exchange (Studio)
Date Reviewed: 26th September, 2008
Writer/Director Matthew Dunster’s new play You Can See the Hills is a coming of age drama that explores snapshots in the life of Royton teenager Adam (William Ash) as he moves towards adulthood.
It is timely that this excellent play has opened in the region in a week when not only did Jacqui Smith admit that the people of Greater Manchester were entitled to feel unsafe on the streets because of knife crime. But also following Barnardo’s statement that custodial sentences were not resolving the problem.
Dunster’s play does not address the confused issue of whether teens are to be feared or are the victims of society’s fear but rather describes a teen’s experiences without sensationalism but with a great deal of compassion, humour and insight.
This might sound almost mundane but the universal appeal of Adam’s experiences offers something to which all members of the audience can relate. We might not all have had a friend descend into drug abuse but we have all been in the awkward position of having to apologise to an offended parent.
Because Adam’s actions are those of an ordinary adolescent he does not, at first, come across as an admirable character. Yet Dunster’s evocative play brings to life those moments when Adam is given the opportunity to change. These include a teacher’s attempt at discipline slipping into assault or when the failure to stand up for a friend who is being harassed becomes betrayal or when trying to avoid the consequences of one’s actions becomes cowardice.
The lessons which Adam learns as he grows helps to develop his character and it to the play’s credit that we are able to see how, as the years pass, he gains sufficient experience to show potential to be a decent adult.
The set, by Anna Fleischle, allows the wayward lad no respite from self-examination, as it’s a photographer’s studio, complete with a stark white background and harsh, unforgiving lighting. Adam sits stage centre and the only relief from his thoughts is the panorama of hills that runs behind the audience.
Ash gives a subtle and deeply moving performance as Adam. In this he is helped by the intimate nature of the Studio theatre which allows his facial reactions to be seen clearly. It is remarkable that Ash is able to convey the confusion and passion of the protagonist whilst remaining seated throughout the piece.
The language of the play is coarse, particularly when describing Adam’s girlfriends, but this gifted actor delivers the lines with a sense of wide-eyed wonder that reflects Adam’s innocence and his growing awareness.
After the Manchester run You Can See the Hills will transfer to the Young Vic in London. Once again the Royal Exchange leads the way with a remarkable production, which has solid direction and writing and a stunning star turn.
-Dave Cunningham