Lorna Irvine reviews the co-production between A Play, a Pie and a Pint and Perth Theatre.
Another week, another murder play at Oran Mor's PPP- but this one, which starts off so promisingly, quickly loses its way.
Nicely staged using a single spotlight at either side, a schoolgirl, Elsa, sits being interrogated in a police station about the murder of her best friend, and to her left, the girl's father Anton is frantic with worry, knowing he may have to identify his daughter's body. The action swings between both scenarios, the former a one-handed monologue, the latter the flip side of the story. Suddenly, a third character emerges in the shape of Lindon, the dead girl's big brother.
Ross Mackay's direction is fine, and Stephanie McGregor as Elsa is good at the typically stroppy teen stuff but not so hot when showing real upset. Lewis Howden is outstanding in the role of Anton, the tyrannical dad, especially in the scenes when he emotionally manipulates his son Lindon (William Ruane) into saying he abused his sister, unravelling a less-than-perfect family portrait.
The main problem lies in much of writer Suzie Millar's dialogue, which doesn't feel authentic. It is hard to believe, for example, that a Glaswegian schoolgirl would use the term 'BFF' when talking of her best friend. After they learn of the girl's death, the exchanges between the father and son seem too controlled and sarcastic for the sake of it- both men should be consumed with grief, but look like they lost a tenner. It all mars a play which at the start has a lot of tension and the potential to be wonderful. A real pity.
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