“Nancy Sullivan delivers Leah with warmth and an immediate likeability”
“I’m revolting,” Leah says, opening the play. Her and her husband, Ben Cavendish, meet when he comes in for a suit and she, in the words of her disapproving mother in law, “serves” him. On the third date he calls her “potential wife material” and sure enough, soon Leah is picking out dresses and planning her wedding. But this is not the narrative of a happy marriage. It is a story about sexual assault, within and later, outside of marriage, how rape is justified by its perpetrators, and the failures of an unbelieving judicial system.
Within this, the show also comments on the roles women are expected to play in society, the trajectory women’s lives are supposed to follow and the confusion that disillusionment brings. Clothing, as the title suggests, weaves a strong motif throughout the show, a reflection of the societal and judicial obsession with the clothing worn by someone who has been raped. Class is also underlying in Leah’s depictions of her mother in law and of Ben.
Abi Zakarian is a beautiful writer, leading us from light to dark with ease. The accounts of rape have such an impact that they are difficult to focus beyond – we leave the theatre still reeling – although the foreboding answer machine messages that pepper the play feel a little unnecessary.
Nancy Sullivan delivers Leah with warmth and an immediate likeability, giggling away, genuine and familiar. Her journey across the play, and the horrific and graphic accounts of rape, are incredibly moving and impactful, an unflinching performance from a very impressive performer.
Anna Reid’s set is scattered pieces of furniture, chairs mainly, which connote different spaces across the narrative, a visual map of Leah’s story, though I’m not sure how much they add.
This is a topical, and vital piece of theatre delivered by a clear talent, that discusses rape as well as the society that so often justifies and perpetuates it.
“McAusland is perfect … her terror and confusion effortlessly convincing”
Catherine Lucie’s The Moor is an eerie, atmospheric piece of drama which is perfectly suited to its venue at the Old Red Lion Theatre. Directed by Blythe Stewart, it has only a three person cast, but nevertheless is highly engaging and exciting throughout.
The story follows Bronagh, played by the wonderful Jill McAusland, as she and her husband Graeme (Oliver Britten) attempt to piece together the events of one drunken night. A man has gone missing, and they are found asking themselves if they could have had anything to do with it. The Moor retains its air of mystery throughout, drip feeding the audience information until we are finally left to decide the events of that night ourselves. It’s well thought out, and expertly executed.
Jill McAusland is perfect for the role of Bronagh, her terror and confusion effortlessly convincing. Whilst there were some questionable moments of direction – at one point Bronagh dramatically falls to the floor, a moment which isn’t at all in keeping with her character – McAusland manages to make Bronagh a complicated and believable character.
Oliver Britten and Jonny Magnati work perfectly in their roles at Graeme and Pat. Britten’s fits of rage are scarily real and terrifying, especially in such an intimate venue. Magnati makes the most of the somewhat one-dimensional role of Pat, a policeman investigating the crime.
Holly Pigott’s set is innovative, making the most of the tiny stage. The back of the stage is lined with rotating, opaque boards, which are half painted with the backdrop of the moor. The actors weave in and out of the boards, rotating them as they go, and this creates an eerie, tense atmosphere as characters can show up from anywhere. The use of sound and music (designed and composed by Anna Clock) goes on to compliment this. The Moor is highly intense, and even with its running time of 90 minutes with no interval, it doesn’t fail to keep the audience’s attention at any point.
The Moor is definitely worth seeing. Catherine Lucie’s script is thrilling, and the cast, set and sound come together to create a truly accomplished piece of theatre, and whilst there are some minor creases to iron out, the show itself is captivating and the mystery it presents will keep you wondering for hours after you have left the theatre.
