The Loneliness of the Long Distance Runner (tour – Ipswich, New Wolsey Theatre)

Much of the credit for this immersive theatrical experience should be
given to the production and stage management crew who create a subtly
powerful staging. Rather than distract or hide behind the cast’s
performance, various elements of stagecraft become like another
hidden member of the cast lifting this performance. Most of the play
is delivered in monologue by Elliot Barnes-Worrell who plays the
long-distance runner Colin Smith while running on a specially
constructed eight-metre treadmill that is embedded in the floor of
the stage.

While Smith delivers his monologue, he recollects his past and the
translucent cloth background has either projections of scenery or is
made translucent white so other members of the cast deliver their
dialogue from behind this cloth background. This staging combined
with the interval-less 80 minute performance draws the audience into
the tempo of a long-distance run.

Barnes-Worrell makes that monologue powerful and clear, despite
spending most of the performance on the on-stage treadmill and comes
across as a dramatic hybrid of John Gielgud and Mo Farah. (I
learned later that Barnes-Worrell is a runner in his private life and
is a member of an inner-city running club that reaches out to
“real-life” Colin Smiths); thus the passion he shows for running
is evident in his performance.

His dialogue, though spiced with inner-city Jamaican-style patois, is
not incomprehensible but beautiful and elegant. However, there are
times where the use of inner-city colloquialisms seems inappropriate, as when Colin’s arresting officers speak exclusively in patois.

All  the cast deliver clear, strong and realistic performances –
which is creditable, given that for some this is their stage début.
However, certain roles particularly shone out. Doreene
Blackstock‘s performance iss particularly poignant as she struggles
through widowhood and then coping with a son who was jobless and then
criminal. Savannah Gordon-Liburd comes across as touching, earnest
and innocent in her performance and Dominic Gately skilfully
delivers his didactic and patronising dialogue.

For me, this is a medal-winning level performance. It shows the
quality and timelessness of Sillitoe’s writing in that few changes are
made to the story but at the same time, Roy Williams‘ adaptation is
precise and contemporary enough to hit modern audiences. This, along
with a harmonious partnership of cast and staging, leads to a very
enjoyable night.