Hope questions what happens when someone becomes incidentally enmeshed in a fraught and high-profile incident – and the impossibilities that this presents for any attempt to communicate and record both the event itself and the nature of one’s own involvement.
In sparse, clinical surroundings, a woman is interviewed by successive officials. She is attempting to give a set of facts – the narrative of a controversial and critical event – for the last time. But these facts are not her own…
The cast, Aleda Bliss, Bertie Taylor-Smith and Alex Hope trade, in the main, on nervous, stilted, formal exchanges between the interviewee and what is intimated to be a medical professional; and between the same interviewee and someone who professes to a be a government official.
The mistrust, anxiety and difficulties and frustrations of framing discourse according to formal and legal convention are well played here, and the tense, nervous physical acting, especially on the part of Bliss as the interviewee is very effective.
"Strong, confident performances from THRIVE THEATRE..."
There are only facts here and no real details. The intervention of medical and possibly governmental influences, combined with the intimation of media involvement cut off the possibility of any direct explication of context. Alex Hope’s script works exclusively through allusion and intimation to a situation, intimate familiarity with which is, it is suggested, assumed by each of the characters of the others and therefore ultimately eludes the audience.
Tantalising visual and verbal clues are given (references to ‘Princes’, gender and age are given). There are distinct intimations here and a conclusion is clearly meant to be reached on precisely what is being intimated. A narrative just about promises to unfold here – yet remains tantalisingly and frustratingly withheld.
"... (a) cleverly written and intriguing hypothetical thought-experiment."
Review by Mark Bolsover for Thom Dibdin's ALL EDINBURGH THEATRE - www.ThomDibdin.co.uk