★★★

“a technological marvel with a political and social edge”

Interviews are a game and interviewers hold all the cards… right? But what if someone changes the rules? ‘Interview’ explores the nature of perception, truth and controlling the narrative in this technologically brilliant battle of the sexes. Though for all its tricks, it lacks punch.

Adapted and directed by Teunkie Van Der Sluijs, ‘Interview’ is a story of turning assumptions into ammunition. Katya, social media star turned actor, is tired of the world editing her narrative and arranges an exclusive interview so she can finally be ‘seen’. Her reluctant interviewer, Pierre, believes the ‘puff piece’ beneath a ‘senior analyst of international affairs’, though we later learn why he’s fallen from grace. The interview is a power struggle, each fighting for control. One wins. Though at what cost.

Produced by Douglas Denoff and based on the 2003 screenplay by Theodor Holman and film by Theo Van Gogh, Van Der Sluijs’ adaptation brings this commentary on the power of perception partly up to date. Katya’s social media prowess is evident in her word-perfect livestreams and adept cinematography. In fact, her curated self is the perfect foil to the transparency she claims to seek. Meanwhile, Pierre’s downfall is ego and privilege, made all the more stinging by today’s age of self-awareness. However, I take issue with the gender dynamics. Katya’s character relies on tired tropes, such as the manipulative, vengeful woman whose sole aim is to bring down a man she’s just met. It makes her less believable and is rather disappointing given how fresh other elements of the adaptation feel.

Van Der Sluijs’ direction ingeniously uses social media to create dramatic irony. Phones are a pervasive third party, creating a secret window into Pierre and Katya’s private worlds and revealing things they would rather hide. In fact, the tech is fantastic. The seamless combination of set (Derek McLane), lighting (Jackie Shemesh), video (idontloveyouanymore) and sound (Ata Güner) allows messages and notifications to pop up in real time on the rear wall of the stage, perfectly capturing the feel of our digital world (including how it can be overstimulating at times). Sometimes the actors themselves are projected, and this strategic shift from actors to images heightens the disconnect between reality and social media. A truly impressive and masterfully executed collaboration.

Costume design (Bernat Buscato) drives the narrative, as Katya’s continual changes contrast with Pierre’s immutable presence. Katya also strips her public persona to reveal increasingly relaxed (and interestingly more covered up) versions, a great nod to the final reveal. The varied soundscape (Güner) mirrors the power struggle, Katya shifting the energy even when Pierre resists.

Robert Sean Leonard as Pierre and Paten Hughes as Katya both give stirring performances. Leonard broods and plots, bringing a gravity that belies his troubled past. Hughes fizzes and disorientates, fluidly flipping through roles and keeping Pierre off balance. A little more slickness would bring out their clashing energies even more; currently, some of the exchanges feel a little sluggish when they should crackle with wit. However, this is early in the run and I’m sure the sparks will fly in time.

‘Interview’ is a technological marvel with a political and social edge. Some elements soar; others stumble. Katya could use a modern edge, but at least she’ll ignite debate on gender and power.

NOOK

Riverside Studios

★★

“The play scratches the surface of too many things, and is ultimately frustrating in its lack of resolution or revelation.”

Cameron Corcoran’s play, “Nook”, opens with an emotive monologue. A very loose paraphrase of the ‘Three Little Pigs’ fable, although there are now four of them and the littlest seems to be in as much danger from the other pigs as from the big bad wolf. We are not supposed to know yet who the teller of the tale is, but they are clearly a damaged soul, and we look forward to the ensuing narrative during which, we hope, the deliberately ambiguous prologue will become clear.

Unfortunately, it doesn’t. Not really. The setting is the family home in which four estranged, adopted siblings congregate following the funeral of their mother. Not for any sort of wake or show of respect, however, but to read the will (but let’s ignore the dubiously erroneous timing of this ritual for now). None of them have much affection for the deceased matriarch, and even less affection for each other. The stage is set for tensions to surface and past traumas to knock on the door threatening to ‘blow the house down’.

First up is Kenny (Daragh Cushen), the eldest son who believes he has escaped his working-class background by marrying Sarah (Zannie Benfield), the queen of snobbish put-downs. Younger brother Tom (played by Corcoran himself) is hot on his brother’s heels with fiancé Maya (Lucy Allen) even hotter on his. Not so fast moving is the socially awkward Phillip (Jack Sunderland). He still lives in the family home, so he hasn’t had as far to come, although he arrives with plenty of emotional baggage and unwarranted apologies. Last but not least is black sheep of the family, Beth (Lara Deering). A sheep in wolf’s clothing? She’s certainly no sacrificial lamb as she holds her own against the ensuing acerbic squabbles.

The dialogue is quite enigmatic. Not just difficult to interpret, but hard to follow and near impossible to swallow. Anguished mini-monologues spring from nowhere while non-sequiturs lead nowhere else. There is little logical flow to the narrative which capsizes any potential tension before it can even cast off.

The piece addresses a hotch-potch of issues: class divide, adoption, sexual and emotional, abuse, false memory, domestic violence and incest are a few of them. But the storms whipped up from the past blow in too many directions. Occasionally even the cast seem a little unsure of the material and too often Pinteresque pauses come across as fumbled lines. The performances are solid, nevertheless, even if the characterisation isn’t always convincing. Except for Deering’s Beth – who drops a delicious bombshell late into the action – actions and reactions don’t ring true and the cyclical verbal fights have been written with inadequate care or connection. Which is a shame as the premise has the potential for intrigue, if only the atmosphere of the opening passage could be maintained.

Moments of humour help drive the action. Kenny’s contemptuous wife, Sarah, has some of the best lines which Benfield delivers with cool exasperation. Her growing incredulity as secrets are revealed is a joy to watch. Pivotal moments, though, are glossed over, and the secrets and traumas shared lose their impact. It is like we are denied access. Reya Muller’s direction mirrors this distancing with some awkward but perversely effective staging, often placing the actors apart as though sections of the space are cordoned off, like some unapproachably dark memory.

It’s all a bit of a mystery. We learn the contents of the mother’s will, but we never understand what led to her decisions. The play scratches the surface of too many things, and is ultimately frustrating in its lack of resolution or revelation. At just an hour long, “Nook” still has the feel of a scratch performance, despite an initial run at the Union Theatre last year. Hopefully, in time, it will dig deeper and gain focus, once it finds its niche.

INTERVIEW

Riverside Studios

★★★

“a technological marvel with a political and social edge”

INTERVIEW

Riverside Studios

Reviewed on 28th August 2925

by Hannah Bothelton

Photography by Helen Murray

Recent reviews from this venue:

INTERVIEW

INTERVIEW

INTERVIEW

NOOK

Riverside Studios

★★

“The play scratches the surface of too many things, and is ultimately frustrating in its lack of resolution or revelation.”

NOOK

Riverside Studios

Reviewed on 23rd August 2025

by Jonathan Evans

Photography by Reya Muller

Recent reviews from this venue:

NOOK

NOOK

NOOK

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