Arlington at Tron Theatre Review
Written by Kerry for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Arlington, written by Edna Walsh and produced by Shotput Theatre at Tron Theatre, takes the audience on a journey of isolation, loneliness in an overpopulated world where existence in itself is draining. Isla stands in a room alone, with only a pile of clothes and three bolted chairs. A sign above the stage shows a number. Isla is waiting for her ticket number to be called. Whilst she waits, she becomes friendly with the Young Man who watches her from another room through monitors and microphones, telling stories of the past and nature for what it was.
The constant low hum of static from the monitors becomes an almost oppressive presence, with the binaurally influenced musical composition carrying the weight of the piece. This is heightened through the extended dance interlude, performed by Jack Anderson, which seemed to take on its own life, forming its own creative interval for the audience, yet still keeping them engaged. Physicality of the piece is evidently a substantial influence on the co-directors, Lucy Ireland and Jim Manganello, who also take up the mantle of choreographers. Through this particular piece, the score jumped through metaphorical hoops, beginning in a Christopher Nolan-sounding aura before merging into an almost ideological club mix from the nineties. Whilst this certain segment didn’t hook me in, it is clear that audience members who enjoy this particular art form would have seen it as the piece’s highlight.
As the story unfolds, we see the distinct contrast between the towers and the dream-like world being created. Harsh, white, clean lighting, almost like that of a hospital ward, fills the space, the only warmth coming from the window into the outside world. However, as the dream world takes form, the coldness of the room melts away, letting the vibrant colours of nature peer through, aided by the projections used throughout, creating an escapist moment or two for both the characters and the audience.
Aisha Goodman and Alex Austin, who play Isla and Young Man, respectively, share a commonality of youthful hope yet fearful personas. Trying to survive when the world around them is pushing for their mortality, their performances echo the environment they inhabit. What stood out to me, however, with both actors, was the awkward comedic timing they had with each other and themselves, Isla dancing around with a human-sized ragdoll to “Baby I Love You” by the Ramones in a sequence reminiscent of Take A Chance on Me from Mamma Mia (the movie, more than the musical). Whilst the Young Man who acts almost as a security guard for the first half of the piece scurries around with dramatic physicality for two and a half minutes, dressing and undressing as fast as he can to “win” a biscuit, which makes you want to root even more for him as he plays the sadistic game show.
Shotput Theatre’s production blends the physical, the distorted and the hope we have as humanity into a haunting exploration of connection and survival.
Arlington plays at Tron Theatre, Glasgow, until October 25th.
★★★
