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| Conor Cook and Samuel Ranger |
Heather Simpkin’s new play, Locked Up is at its purest an
exploration of time and space. This might seem a somewhat flippant summation,
but it is in the detailed investigation of these two concepts that trust and
truth begin to bloom and ultimately become the dominant emotions in this
tightly drawn observation of human nature and relationships in an unreal
environment.
The premise of the piece is that ‘two men are trapped in a
confined space which they interpret as their cell. Since being taken against
their will, the only world that exists for them is that cell and an enigmatic
White Room where there are few clues to their immediate predicament...’
It was fascinating to watch the human need to measure so
beautifully played out in both characters. Samuel Ranger as Declan is seen from
the beginning pacing - measuring the space in which he is trapped in different
multiples of the human dimension. This moves on to his estimation of time by
singing incessantly about the number of bottles of beer consumed. Interesting
when we first encounter Topher played by Conor Cook, he too is pacing for
measurement of his alien environment -
both ostensibly trying to reconcile time and space.
This entire environment is stunningly realised by the simply achieved
set by Justin Williams and Jonny Rust, who seem to be the go-to designers for
so many exciting fringe productions of late. Above all, the sound design by Jac
Cooper and lighting design by Euan Davies complete this shockingly frightening
and claustrophobic scene, which director, James McAndrew exploits to the
fullest with his sharp, cleverly observed, almost filmic, depiction of
unexplained confinement.
Declan and Topher’s desperation builds as they try to discover
answers to their questions and a way out of this seemingly absurd, unexplained
situation. With no spoilers here, Cook and Ranger keep the tension and
emotional endurance to the eventual outcome. Both give strong, knowing and
highly credible performances without spoiling the pressure that has been
developed throughout the piece. It was good to see Conor Cook playing a more
hardcore, esoteric character, especially as he has been so cleverly comedic of
late, especially in The Provoked Wife.
My overriding impression of Locked Up is that, apart from the
tight, insightful and smart writing of Heather Simpkin, this is an ensemble
that has worked together in creating a highly credible, coherent piece of
modern theatre. One that questions, challenges and above all portrays a society
that is not all it would seem – a chilling indictment to a world where trust is
a questionable and fragile virtue.
Photography by Rosalind White
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