ST MAUD at the Live Theatre

★★★

“has the potential to go bigger, better and smarter to raise the hairs on the back of necks of everyone who dares come along”

Saint Maud at Live theatre is a murky journey of religion, death, and neglect. The story follows Maud (played by Brogan Gilbert) who is a nurse and devote believer, caring for Amanda (Dani Arlington), an atheistic ex-dancer struggling through end-of-life care. As the audience catch snapshots of Maud’s pleas to a higher power for a sign of any kind of recognition and connection, and her mission to “save” Amanda before it is too late, there is a creeping sense that all is not what as it seems.

The show is advertised as an intense watch, so it’s fair to arrive with expectations of how the company might deliver on an unsettling and shocking experience. The overall vision, though clearly thought-through and well-crafted, is unfortunately underwhelming. Admittedly, there are aspects of real majesty woven through this piece (particularly Alison Ashton’s design and Drummond Orr’s lighting); as roses are dug from sand and heaps of hair unravel from drawers, stunningly chilling lighting pulls tableaus together aptly. Starting strong, Matthew Tuckey’s sound design immediately sets a haunting scene. However, lacklustre voice overs, repetitive design motifs, and non-committal audio visuals unfortunately draw the attention away from the suspenseful magic that the heights of Maud’s sound design reach.

Transitions are directed smoothly and acted with desperate tenderness. A real strength that could be pulled out even more is the stylised movement and dance motifs which flutter through the story. Upping the stakes visually and going even further with this would inject further drama into the writing. The use of pyrotechnic effects and gauze are especially effective in drawing through scenes of isolation and damnation through the piece and are best used in the sparing moments which do garner shock or chills from the audience.

The staging is largely dynamic and presents gorgeous stills of vulnerability from actors who are pushed to the brink and demonstrate impressive range. As Maud comes into conflict with Carol, a sex worker and mother begging to provide comfort to Amanda (played by Neshla Caplan), the direction feels more fine-tuned and moving.

A clearer sense of place, time, and meaning might ground this show in something more tangible and detailed. Jack McNamara’s direction lacks clarity, and Jessica Andrews’ ambiguous writing leaves the audience asking for more. Narrative and storytelling cliches clash frustratingly with the eery helplessness and lovely poetic language (explorations of seaside deindustrialisation are, in all fairness, well-thought through and well-done). Unfortunately, the play meanders down too many paths and struggles to build and maintain tension where it is sorely needed. At every other turn, it is difficult not to feel let down by the lack of commitment to the imagining of horror as a genre; where we have hints of unnerving physicality and glimpses of body horror, these ideas are not fully followed through.

Saint Maud misses the mark in pulling off an experience which keeps an audience on their toes. The play sets up so much that could be ignited but does not come to fruition in any meaningfully daring way. As actors vanish into thin air and technical design elements arise in clever ways throughout, it’s evident Saint Maud has the potential to go bigger, better and smarter to raise the hairs on the back of necks of everyone who dares come along.

ST MAUD at the Live Theatre

Reviewed on 17th October 2024

by Molly Knox

Photography by Von Fox Promotions

Previously reviewed by Molly

MAISIE ADAM: APPRAISAL | ★★★★ | TYNE THEATRE & OPERA HOUSE | October 2024

IS THE WI-FI GOOD IN HELL? | ★★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

MY MOTHER’S FUNERAL:THE SHOW | ★★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

CRYING SHAME | ★★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

TIT SWINGERS | ★★★★ | EDINBURGH FESTIVAL FRINGE | August 2024

ST MAUD

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★★★★

“a heart-warming story with an unexpected ending”

Three black walls, a black floor, a running machine and a giant exercise ball. One remarkable solo writer-performer. That’s what it takes to make one heck of a show at Reading Rep.

Harriet Madeley is an award-winning writer, actor, producer and co-director of the theatre company Crowded Room which ‘specialises in true stories that get people talking’. Mid-way through writing a new play about death – the subject no-one wants to talk about that we have all but airbrushed out of our lives – the wheel of fate took an unexpected turn. Madeley was diagnosed with a rare and chronic disease called Primary Sclerosing Cholangitis (PSC). The condition, which attacks the liver and bile ducts, affects around seven in every million in the UK. Life expectancy of sufferers can be as short as ten years and there is, as yet, no cure.

On stage Harriet Madeley becomes a ditsy journalist called Olive who must recruit interviewees for an article about terminal illness. When Olive finds herself similarly diagnosed, her own life unravels in a rapidly descending spiral of laugh out loud comic moments. She even wonders whether her own death could become her own best career break yet.

The show does not flag for a second as Madeley interacts with recordings and delivers a series of reflective monologues on her condition. As those around her struggle to accept her fate and she goes off at a very unexpected tangent, we get to know Olive’s fiancée, parents and friends in a heart-warming story with an unexpected ending.

With simple and effective video and lighting by Megan Lucas, sound by Bella Kear and some smart direction from Madelaine Moore, this thought provoking new play more than merits its Summerhall Lustrum Award for Unforgettable Theatre. It is a warm and life-enhancing version of the performer’s own terminal diagnosis story and deserves to run and run.

Category Archives: Reviews

ST MAUD

★★★

Live Theatre

ST MAUD at the Live Theatre

★★★

“has the potential to go bigger, better and smarter to raise the hairs on the back of necks of everyone who dares come along”