ARLINGTON
Tron Theatre
★★★
“well worth seeing for its well executed design and engaging performances”
In the latest addition to the dystopian, Big Brother-esque theatre scene, Arlington – a new production from Glasgow-based dance-theatre company, Shotput – is a visual spectacle of a show with incredible performances and a stellar design team. Written by Enda Walsh, the show sets up an intriguing premise which it disappointingly fails to follow through on.
Lights up on a stark raised stage, outfitted only with a waiting room bench, a lone ticket dispensing machine and a pile of clothes. Around the perimeter of the stage we see multiple monitors and pieces of run down looking tech – someone is definitely watching. Above the stage a large sign with the number ‘3097’ is hanging ominously. The story begins by following Isla (Aisha Goodman) as she waits endlessly for her number to be called so she may escape her room in this mystery tower. We are given very little in the way of information as to how she came to be here and what is going on with the rest of the world outside these towers. A new, unnamed man (Alex Austin) enters Isla’s sphere to monitor her from the screens outside. Eventually, the scene shifts away from Isla and her comical body-pillow dance duet and we meet another unnamed character. Played by Jack Anderson, we are entranced by a twenty minute solo dance piece, presumably depicting this character’s journey inside their own room. Finally, our third and final captive brings the story full circle as we discover he is the guard from Isla’s tale, now trapped himself.
The story that we attempt to follow throughout this show is convoluted and unsatisfying in the few answers we are given to the many questions that arise. While this is likely a conscious choice in the storytelling, it weakens the show considerably as the scrappy structure offers little in the way of closure. That said, what this show lacks in plot it makes up for in volumes with its direction, Lucy Ireland and Jim Manganello, and design elements. The set design, Anna Yates, offers a beautiful contrast between the harsh clinical environment of the room and the soft, deeply damaged nature of the control centre outside in the real world. The lighting design, Emma Jones, and sound, Garry Boyle, work together in perfect harmony to create a chilling all-encompassing atmosphere that creates a sense of perfect unease, never allowing us to relax or know what is coming next. Rob Willoughby’s video design transports us to a disturbing reality of constant observation as we are invited at all times to see at least four versions of the live actor via the aforementioned monitors, while the mysterious man behind the control desk remains with his back turned and swathed in shadow.
The performances across the board are superb. Each performer incorporates elements of dance into their character, with Jack Anderson providing a solo routine so vivid it’s hard to look away. Aisha Goodman brings humour and grit to her performance as Isla, allowing us to perfectly appreciate the frustrations and quirks of living in this strange world. Alex Austin skillfully allows us to connect with his character’s vulnerabilities and awkwardness even while sitting in the dark and turned away from view.
Overall this is a production well worth seeing for its well executed design and engaging performances. If you’re looking for a satisfying story that will leave you either sated with knowledge or content with the well managed unknown: look somewhere else.
ARLINGTON
Tron Theatre then Scottish Tour continues
Reviewed on 23rd October 2025
by Kathryn McQueen
Photography by Brian Hartley
Previously reviewed at this venue:
BLACK HOLE SIGN | ★★★★ | September 2025
