The Dark Room
Angela Betzien
Directed by Katia Elsianli
Tower Theatre. Stoke Newington
Star rating: 3.5
An intriguing and compelling play, The Dark Room takes us to a motel room somewhere in Australia’s Northern Territory where three pairs of people intersect – mostly across the boundaries of time and space.
First comes Anni, a social worker (MK, Melissa Kathryn, Rose) who is trying to help a deeply troubled “feral” child, Grace (Eloise McCready). Rose gets the sensible, not-quite-maternal but kind and patient Anni pretty convincingly. And McCready gives a fine performance, shouting and being as provocative as she knows how and on her knees childishly begging to be taken home the next. The details of her past which gradually and tantalisingly emerge are extremely disturbing. Dogs and blood are just two of the themes which thread through this 95 minute, one act play.
At a different time the room is used by Stephen, a policeman (Matt Tylianakis) on his way home from a wedding with his wife Emma (Sarah Tiplady). We watch the unfolding of their volatile relationship, partly predicated on her early-stage pregnancy and his fondness for booze. Both are fine and sensitive actors. And all the time they’re talking Anni and Grace are silently and unobtrusively, occupying the space engaged on activities which reinforce their characters. Then we switch back to Anni and Grace while Stephen and Emma retreat into silence. Eventually it transpires that Stephen and Anni know each other professionally so the two narratives are tangentially linked.
Finally – and, arguably, unnecessarily because it dents the narrative cohesion – come Graig (Stephen Grist), a policeman whom Stephen knows. He is haunted by the memory of Joseph, a criminal with whom he feels bonded but has been instrumental in getting convicted. And this part of the play feels bolted on although the two actors do a good enough job.
Stanley Piper’s sound design supports all this rather well – tense ticking at several points, low level buzzing and sounds which connote Australia effectively. There are, however, too many blackouts which feel clumsy.
This play is a brave and ambitious choice for a non-professional company although there is a lot of talent at Tower Theatre and in general they carry The Dark Room off successfully. I was saddened, though to see only 14 people in the audience. At one point I thought the cast of six was going to outnumber us. I suppose it’s because the play is not well known, although it’s published by Nick Hern books, and some people are reluctant to try something they know nothing about. I think it’s a play which deserves more outings so well done, Tower Theatre for running with it.
