Theatre
Blackbird
Citizens Theatre, Glasgow
Neil Cooper
Four stars
When the lights go out on twenty-something Una mid-way through David Harrower's taboo-busting psycho-drama, she's left alone in a room full of domestic debris. The painful silence and eventual cry for help that follows make it feel like this is the second time she's been deserted by Ray, the man now known as Peter who she went on the run with fifteen years before. That was when he was forty and she was twelve. In the gulf between the couple's two meetings, lives have been lived, torn apart and just possibly rebuilt. In the play's 100 minute duration, played without an interval, those lives are exposed in all their fragility before being turned upside down once more.
A decade after it premiered at Edinburgh International Festival, the emotional cache of Harrower's play becomes more powerful with its every reading. As this new production by Gareth Nicholls – no stranger to intense two-handers following his production of Gitta Sereny's Into That Darkness last year - the relationship between Una and Ray is infinitely more complex than any cheap stab at tabloid-making sensationalism.
Ray is no politician or TV celebrity taking advantage of his position or heart-throb status, and Una is no glamour-chasing former teeny-bopper on the make. If anything, it is the sheer everyday ordinariness of both their lives and the feelings neither are in control of that gives the play its believability. There are moments in their lengthy exchanges that recall those between John Proctor and Abigail in Arthur Miller's play, The Crucible. Here, however, the consequences are even more intimate
As Ray, Paul Higgins is a haunted bag of neuroses who flits between humility and resentment at what he's lost, and if anything seems more damaged than Una. As played by Camrie Palmer, she at first seems equally sure of herself before gradually falling apart. As the pair roll around in the mess of their own making both psychologically and physically, passions are purged even as they're briefly rekindled to complicate their lives once more en route to closure in a brilliantly unflinching tug of love.
Why are you making commenting on The Herald only available to subscribers?
It should have been a safe space for informed debate, somewhere for readers to discuss issues around the biggest stories of the day, but all too often the below the line comments on most websites have become bogged down by off-topic discussions and abuse.
heraldscotland.com is tackling this problem by allowing only subscribers to comment.
We are doing this to improve the experience for our loyal readers and we believe it will reduce the ability of trolls and troublemakers, who occasionally find their way onto our site, to abuse our journalists and readers. We also hope it will help the comments section fulfil its promise as a part of Scotland's conversation with itself.
We are lucky at The Herald. We are read by an informed, educated readership who can add their knowledge and insights to our stories.
That is invaluable.
We are making the subscriber-only change to support our valued readers, who tell us they don't want the site cluttered up with irrelevant comments, untruths and abuse.
In the past, the journalist’s job was to collect and distribute information to the audience. Technology means that readers can shape a discussion. We look forward to hearing from you on heraldscotland.com
Comments & Moderation
Readers’ comments: You are personally liable for the content of any comments you upload to this website, so please act responsibly. We do not pre-moderate or monitor readers’ comments appearing on our websites, but we do post-moderate in response to complaints we receive or otherwise when a potential problem comes to our attention. You can make a complaint by using the ‘report this post’ link . We may then apply our discretion under the user terms to amend or delete comments.
Post moderation is undertaken full-time 9am-6pm on weekdays, and on a part-time basis outwith those hours.
Read the rules here