A Powerful Play Spoilt By Heavy Handed Symbolism
Bullying isn't nice, and this revival of Simon Stephens play on the subject doesn't pull any punches as it examines the effects of bullying on both the bully Scott (Billy Matthews) and his victim Billy (Max Gill).
It's set on wetlands somewhere in the East End of London where a year ago a girl called Rachel was killed, Scott's brother's in prison for the crime after being grassed up by Billy's dad (Ed Gaughan).
This adds another level to the implicit violence as Scott tells Billy what Ross will do to his dad when he gets out. With no responsible or adequate adults around for guidance or discipline things rapidly get out of hand.
Scott exudes snarling menace, without ever letting you forget he's a child, he's horrible but he's not inhuman, he's a boy caught up in something beyond his control.
Billy faces up to him and his wannabe bully acolytes with a resigned stoicism born of knowing he's trapped, he dreams of living by the seaside, but that's never going to happen, these wetlands are his world and he's stuck like the rest of them.
He lives with his inadequate, violent, gun-toting father who fishes obsessively and dreams of the day he can shoot the heron that eats the fish.
Billy's estranged mother (Sophie Stone)brings a gentle counterpoint to the foul mouthed action. She's deaf so she and Billy have to communicate with sign language with one very touching moment as she tries to reach out to her son but he rejects her.
It seems that Billy has learnt not to trust anybody, especially the grown - ups because they're the ones who've let him and all the others down.
It' s a powerful play but this adaption has been spoilt by too-clever-by-half direction and heavy handed symbolism. The stage has been turned into a shallow pool, there's an inflatable sex toy to represent the dead Rachel, a video of monkeys plays over and over on a big screen at the back of the stage, and a weir bursts to make things even wetter when things get violent, which of course they do.
None if this is necessary, they are distractions and don't add anything. The play can stand on its own merits, and audiences can work things out for themselves without the need for prompts. If they can't perhaps they should see a different play.
It's the high standard of acting that pulls this through, congratulations to everybody including Sophie Decaro, Ella McLoughlin and Moses Adejimi who make up the rest of the gang.
Herons continues at The Lyric Hammersmith till February 13 from Monday to Saturday at 7.30pm with Saturday matinees at 2.30pm, including a Friends performance on January 30. Audio described performance on February 6 at 7.30pm, open captioned February 6 at 2.30pm and BSL on February 13 at 2.30pm.
Find out more and buy tickets here or call the box office on 0208 741 6850.
January 28, 2016