★★★★

“a beautiful tribute to the lives of Ukrainian war survivors”

Dash Arts has brought to life transcripts of Ukraine War survivors, creating a wonderful verbatim art piece that reminds us not to forget the people behind the numbers. Co-written by Anastasiia Kosodii and Josephine Burton (also director) in collaboration with The Reckoning Project and Public Interest Journalism Lab, amongst many others, it’s clear how much heart went into this play.

The show introduces us to two of the performers Simeon Kyslyi (Sam) and Olga Safronova (Olga). Both performers are from Ukraine and came to the UK after the war started. They tell us some of their story, helping contextualise the world for the audience and remind us of the war that continues on. Often, in times of tragedy, it can be easy to disassociate from feeling when not directly involved. Seeing war images on the news everyday for example; as each day goes by you skip it even quicker. Having Kyslyi and Safronova on stage not only makes the play more authentic, but it’s an effective way to allow audience members to gently step back in to that place of empathy; via that human connection. They multirole as different people throughout the show, as well as guiding the action with different forms of physical theatre choreography. There are several points in the play, where emotional tension is high that they return as themselves to speak to the audience once more. This included a lovely moment where they shared a traditional Ukrainian salad, and recalled memories of eating it as children in Ukraine.

The majority of the action is led by The Journalist (Marianne Oldham) and The Man from Stoyanka (Tom Godwin). The Journalist talks to the man through his recalling of where he was and what he did when the war started, how he was the only survivor in his town and how he was eventually mistaken for a Russian and brutally interrogated as a result. Throughout their interview, the Journalist speaks to other survivors, played by Sam and Olga who once again shine in their performances as many different characters. This included one incredibly touching story who ran from home to a train station to try and see her husband who was killed in an attack from Russia. The audience was in tears many times. There were parts where I could feel, the cast were nervous and potentially falling behind their own pace. This did not deter from the entire piece, however.

The play is well supported in the intimate staging in Studio 2 of the Arcola. You feel at home with these people. Before the play began, Sam and Olga are on stage picking up the bricks and rubble that are arranged as being fallen from the wall, until eventually they are built back up again. Two wooden triangles are used to hold up a table, that is moved for different purposes throughout the show. Final pieces of set (designed by Zoe Hurwitz) include an oven and a cupboard which held various food items used throughout the performance. The lighting (Joshua Pharo) provided clarity throughout the interview sections and then would boost the action with various shadows and colours, including a nod to the Ukrainian flag with yellow and blue spots at some points.

Overall, The Reckoning provides a beautiful tribute to the lives of Ukrainian war survivors, and reminds us why these stories need to keep being told through the use of utter respect and very strong performances.

IN OTHER WORDS

Arcola Theatre

★★★★

“Seager and White give astonishingly convincing performances, both fearless in displaying emotions most of us would like to keep buried”

A little bit of trivia: “Fly Me to the Moon”, the popular standard made famous by Frank Sinatra in the 1960s, was originally titled “In Other Words”. In turn, the refrain has been fittingly adopted as the title for Matthew Seager’s play, which is as far away from ‘trivia’ as can be imagined. While the song may be bland melodic wallpaper in many people’s lives, this production tears it apart to reveal the bare bricks of the shattered lives of a married couple. The song brought Arthur and Jane together, and in their later years, it becomes the sole, delicate anchor that makes life bearable as they cope with the effects of Arthur’s Alzheimer’s.

Arthur (Seager) meets Jane (Lydia White) at a bar. He spills red wine down her white blouse. Not a great start but by the end of the evening they have enjoyed their first kiss. We are told this in flashback, then shown it in real time, and back again. The milestones of their relationship are dished up like a kind of memory game. Seager’s supple writing, enhanced by Andy Routledge’s sharp staging, play with the chronology – making time as unreliable and fragmented as the protagonist’s mind. Our emotions are similarly tugged in opposing directions. One moment we are disturbed and unsettled, the next we are thrown a line that wrenches a guilty laugh from our hearts. But most of the time our heart is breaking. Or melting. Seager and White give astonishingly convincing performances, both fearless in displaying emotions most of us would like to keep buried.

From that first kiss we are guided towards the teasing, middle years of a conventional love story. ‘Fly Me to the Moon’ has become a leitmotif used to defuse arguments. The couple talk to the audience as much as to each other, making us accomplices as well as witnesses to their story. The first indications of Arthur’s dementia are a fleeting shadow in the corner of the eye. He goes out to buy milk but forgets what he’s gone for by the time he reaches the shop. We’ve all done it, as Jane points out, and they both initially brush it aside. White’s portrayal of the guilt at not seeing the signs early enough is authentically heartbreaking. They both cover it up until it is too late. Seager’s later mood swings are brutally believable, and we are no longer merely onlookers as Iida Hägglund’s echoing sound design and Will Alder’s flashing lights draw us right into Arthur’s mind.

The inevitable cannot be avoided, and the poignancy with which the actors take us there is unsettlingly real; fear, denial, paranoia, anger and ultimately acceptance all having their moment to shine. Listening to, and enjoying music, is a universal experience that even the most damaged minds are not excluded from. Arthur and Jane discover the healing and comforting effects of their shared song. It is a sedative, yet it also awakens past memories which adds further comfort to the unhealing wounds. While the play shows us the effects, it rarely digs much deeper. Emotion is all, and insight takes a back seat. We are denied any real explanation – but ultimately, being spared the science becomes one of the show’s strengths. We do have, however, a vague questioning of the purpose of the piece. Despite the force of its ability to inform, entertain and uplift, we are still left with a sense of hopelessness.

Originally staged at the Hope Theatre in 2017, the play has since been translated into French by Thierry Lopez and Marie-Julie Baup (“Oublie Moi”) and has since been a fixture in Parisian theatres, winning four Molière awards. Being brought back to its London roots in the simple yet effective setting of the Arcola reminds us of the power of fringe theatre. We are gripped throughout by the pair’s outstanding portrayal. While all else sinks and disappears into the illness, we are left with the crackle of Frank Sinatra’s voice heard through Arthur’s earphones, and as Jane watches on, helplessly yet adoringly it is a heart-rending moment. Seager has taken on a delicate topic but is unafraid to handle it with an honesty that breaks it apart to reveal the heart of the matter.

‘In other words, please be true’ croons Ol’ Blue Eyes. This play certainly answers his plea. A truly evocative piece of theatre.

THE RECKONING

Arcola Theatre

★★★★

“a beautiful tribute to the lives of Ukrainian war survivors”

THE RECKONING

Arcola Theatre

Reviewed on 4th June 2025

by David Robinson

Photography by Ikin Yum

Last tens shows reviewed at this venue:

THE RECKONING

THE RECKONING

THE RECKONING

IN OTHER WORDS

Arcola Theatre

★★★★

“Seager and White give astonishingly convincing performances, both fearless in displaying emotions most of us would like to keep buried”

IN OTHER WORDS

Arcola Theatre

Reviewed on 19th May 2025

by Jonathan Evans

Photography by Tom Dixon

Last ten shows reviewed at this venue:

IN OTHER WORDS

IN OTHER WORDS

IN OTHER WORDS

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