Tag Archives: Eigengrau



Waterloo East Theatre



Waterloo East Theatre

Reviewed – 13th September 2019



“Georgie Staight’s no-frills revival is powerful and chilling”


Penelope Skinner’s Eigengrau, originally produced in London in 2010, follows the intersecting lives of four young people struggling to get by in London. Cassie works for a feminist organisation that lobbies parliament. Rose believes in fairies and star signs and true love. Mark is a womanising marketing bro. Tim, suffering from depression, barely manages his shifts at a fast food takeaway. Their lives intertwine with devastating consequences in this modern-day Grimm’s fairytale.

Director Georgie Staight’s no-frills revival is powerful and chilling. With a sparse, efficient set (Bex Kemp) – just a few wooden boxes used as benches and tables – Staight boldly strips the show down to its leanest form. Fast-paced and highly entertaining, there isn’t a dull moment in its nearly two-hour runtime.

Staight’s faith in the strength of her cast to carry the show barefaced, without the padding of excessive design, is not misplaced. Four well-selected actors deliver accomplished performances. George Fletcher is easily convincing as the cocky, manipulative Mark. Callum Sharp is subtle yet nuanced as the harmless – but perhaps not quite – Tim Muffin. Isabel Della-Porta wholly owns her role as the strong but still immature feminist Cassie. And Katie Buchholz shines, earning her place as the star of the show, with an exceptional performance as the idealistic, desperate Rose. Buchholz is captivating: fluttery and electric with madness at all of her edges. She effortlessly draws focus and holds it for the duration she’s on stage. Like a violin string wound too tight, she keeps us on edge, uneasily wondering when she’ll snap. Cassie says she’s a little bit afraid of Rose. We are too.

Although there are moments of the play that feel dated – in the post-Metoo era, a ‘feminist’ is no longer a curiosity – Staight is smart in realising the many ways Eigengrau is immediately relevant. Men pretending to be woke (or worse, believing they are), while demeaning and manipulating women, are still sharks in 2019 waters. And the overall feminist message still rings true: Rose embodies the damage done by years of consuming misogynist ideology packaged as fairytales and rom-coms. Disinterest from men means she’s deficient. There’s no relationship that can’t be fixed by the right dress and a grand gesture. It’s no wonder her optimism, at the age of twenty-seven, is beginning to take on a manic quality. Cassie wants Rose to see the world for what it is: cruel and oppressive, full of untrustworthy people. But Rose shuts her eyes to any evidence that contradicts her belief the world is a good place. If the world is hideous, isn’t it better to be blind?

Eigengrau is the name for the shade of black seen by the eye in perfect darkness. With this revival, Staight is shrewd asking the woke generation of 2019 – who see, daily, the harsh realities of a sinister society no longer bothering to disguise its hate – how tempting, how soothing, must eigengrau be? To shut your eyes, shut it all out, even for a moment? But while eigengrau may seem like a safe haven, Skinner’s story reminds us of the danger in seeking it. No progress can be made in darkness. There’s no going back to sleep, now that we’re awake.

With this production of Eigengrau, Staight is asking feminist questions that, nine years later, audiences still need to hear. Don’t miss the opportunity to see Skinner’s enthralling, razor sharp play revived by a strong cast.


Reviewed by Addison Waite

Photography by Lidia Crisafulli




Waterloo East Theatre until 22nd September


Previously reviewed at this venue:
Doodle – The Musical | ★½ | January 2018
Unburied | ★★★★★ | March 2018
Romeo & Juliet | ★★ | June 2018
Liberty Rides Forth! | ★★★★★ | October 2018
A Christmas Story | ★★★½ | November 2018
The Greater Game | ★★ | November 2018
Summer Street | ★★★ | May 2019


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Eigengrau – 1 Star



Greenwich Theatre

Reviewed – 1st August 2018

“time has not been kind to Penelope Skinner’s slight four-hander”


Four young people in two flat shares in London: Cassie, a committed feminist activist, shares with Rose, a sweet hippy-dippy type; Mark, doing well in the marketing world, shares with his old University buddy Tim, who’s a bit of a waster. At the play’s opening, Mark wakes up in the girls’ flat after a night with Rose, and encounters Cassie, who is almost immediately triggered into launching into an angry feminist tirade at him, which, who would have guessed it, gets Mark going something rotten, and, he eventually manages to seduce her, using exactly the same tactics he used on the unfortunate Rose. What a snake, hey? At the play’s close, Mark ends up alone, Cassie experiencing her womanhood in an entirely new way, and Rose pretty much entirely dependent on the hapless Tim, who has finally managed to let go, both literally and figuratively, of his dead Grandma.

If this sounds pedestrian and predictable, it’s because it is. Time has not been kind to Penelope Skinner’s slight four-hander, and its handling of gender politics seems unbelievably clumsy and cliché-ridden in 2018. A lot has happened in eight years. That being said, a prickly feminist who likes to be dominated in bed was satirical stock-in-trade in the 70s – which makes the decision to revive this piece now all the more difficult to understand.

Although the writing is decidedly creaky, the dialogue is nonetheless sprinkled with whippy one-liners, and there are a couple of big theatrical moments to play with. Sadly, neither the acting nor the direction in this production was good enough to take advantage of these strengths. The direction was as pedestrian as the plot, and as a result the piece lacked both colour and drive. Why, oh why, were both the big moments visually masked? One by a strobe; the other by a barely lit stage? Penelope Skinner wrote the fellatio scene in to her play for a reason. It is the audience who should be squirming here; not the director.

Joseph McCarthy managed to lift Mark off the page, but the other characters remained resolutely one note and failed to breathe beyond the boundaries of their stereotype. Seldom has there been such unconvincing smoking on stage, or a more laughable slap in the face. And there was certainly nothing erotic about the central seduction scene. In addition, the intrusive and badly-managed sound design only underlined the production’s overall lack of atmosphere.

Eigengrau is ‘the uniform dark grey background that many people report seeing in the absence of light’. It is a strange title for a piece of theatre, but, in this particular case, peculiarly apt.


Reviewed by Rebecca Crankshaw

Photography by Victorine Pontillon



Greenwich Theatre until 11th August



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