Review- Mile End
Date Reviewed: 16th October, 2008
Venue: The Lowry
Mile End is the ominous name of the tube station where, in 2002, an innocent man was pushed to his death under a train by someone whose attempts to be committed had been unsuccessful. The members of Analogue Productions used to reside in the vicinity of the station and have interpreted the event as a tragedy in which the actions of the participants were pre-destined.
This small gem, written by Dan Reballato with co-writers Lewis Hetherington and Emma Jowett, reflects elements of both classic drama and modern chillers such as Don’t Look Now. It is also a strikingly imaginative and disturbing slice of urban paranoia.
The relationship between Kate (Hannah Barker) and Alex (Sam Taylor) has reached the stage where small annoyances are taking effect. More significantly, Alex has begun to have prophetic dreams one of which features the death of a person wearing a red scarf like the one that Kate has just purchased.
Meanwhile Michael (Liam Jarvis) is dependent upon medication and is unable to get help for his deteriorating mental problems. He has begun to fear that the neighbour about whom he has complained may actually be a projection of his own violent tendencies.
Considering that the actors are required more to create atmosphere than believable characters they do well in making us care about these people. The exchanges between Kate and Alex by mobile phone are moving and Michael’s efforts to avoid his fate are heartbreaking.
Lewis Hetherington, Emma Jowett and Daniel Tobin play non-speaking parts shrouded in black, facilitating the rapid scene changes that provide no relief from the tense atmosphere. Artistic Directors Hannah Barker and Liam Jarvis and Associate Director Caroline Steinbeis are aware that this clothing does not render the cast invisible so the actors are used as agents of fate and are shown influencing Alex’s dreams and interfering with Michael’s medication.
One later scene features them dressed in the same clothes as Michael but with their faces obscured so that they become figures of terror as they drag him to his date with destiny.
Thor Hayton’s multi-media designs are a highpoint of the show and help to convey the sense of social isolation experienced by the characters. The simple set comprises two six foot boxes that can be moved to indicate changes in scene. They are covered in gauze and act also as a screen upon which filmed projections give the impression of the characters walking upstairs and along corridors or of the tube train approaching.
One remarkable sequence allows us to share Michael’s feelings and point of view as he peels up the floorboards to peer down on his neighbour.
This excellent play is short enough to leave you wanting more. One hopes that Analogue will rise to the challenge and apply their skills and techniques to an established text. Their version of Macbeth would be a must-see.
-Dave Cunningham