Tag Archives: Ron Donachie

REVIEW: Stand By – Eastwood Park Theatre, Giffnock

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Dundee. Present day. The claustrophobic back of a police riot van. Four officers wait for a negotiator to do his job, wait while a samurai sword-wielding man is threatening to kill himself and his baby son.

From the pen of former Tayside police officer Adam McNamara, Stand By isn’t your stereotypical adrenaline-filled police thriller, instead it’s a thought-provoking and highly arresting (forgive the unintentional pun) drama about the grim realities of life in the police force in 2017.

McNamara’s very real experience of the subject matter imbues the production with credibility, coupled with the wholly naturalistic, and expletive riddled dialogue, means the whole piece is grimly realistic and entirely believable.

McNamara effectively (and amusingly) conveys the mundane realities and frustrations of existing in such close quarters with your colleagues, and the thick skin required to deal with it. But, underneath the banter, much bigger discussions arise about the consequences (for both the officers and the public) of constant financial cuts, the day-to-day dangers and the personal costs of the job.

McNamara carries off the role of team leader Chris, with his precarious personal life, with gravitas, and Andy Clark is sure-footed as Dundonian police veteran Davey, hiding his own personal problems behind a sharp tongue and a world-weary wit. Jamie Marie Leary is an effective young officer determined to drag her colleagues into the 21st Century, and Laurie Scott is suitably annoying as mouthie new transfer from The Met, Marty, a man with a closet full of skeletons of his own to hide.

The production is greatly enhanced by Natasha Jenkin’s clever set design which perfectly confines the action and engenders a sense of psychological claustrophobia, while never limiting the drama. The clever use of the single-earpieces the audience wear, that convey messages from the police control room in real-time throughout the play, adds to the experience and gives a small glimpse into the pressure officers on a call are under. (A nice touch is that the voices are provided by some of Scotland’s finest actors – Ron Donachie, Richard Rankin and Jack Lowden to name a few).

This is an absolutely gripping piece of theatre (that would make a perfect TV police drama), a breath of fresh air that deserves to be seen by a much wider audience.

By the end, you really do believe the oft-repeated mantra: “the job is fucked”, and can’t help wonder what on earth the consequences will be for us all.

REVIEW: Dark Road – The Royal Lyceum Theatre, Edinburgh

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This article was originally written for and published by The Public Reviews

Writers: Ian Rankin & Mark Thomson

Director: Mark Thomson

The Public Reviews Rating: ★★★★☆

Crime fiction may be the biggest selling literary genre in the UK but excepting the output of the late ‘Queen of Crime’ Agatha Christie, it hasn’t exactly figured large on the theatrical stage. Britain’s biggest selling crime novelist Ian Rankin and Lyceum artistic director Mark Thomson have set about redressing the balance in their psychological crime thriller Dark Road.

Isobel McArthur (Maureen Beattie) is a thirty year police veteran, Scotland’s first female Chief Constable, mother to a challenging 18 year old daughter and fast approaching retirement with a nagging doubt that just won’t go away. Was the conviction of Alfred Chalmers (Philip Whitchurch), on the basis of a single piece of flimsy forensic evidence, for the murder of four young Edinburgh women, sound? 25 years on Isobel decides to revisit the case to the horror of both her fellow officers and her daughter. The doubts escalate to the point where Isobel questions everything and everyone she knows.

If the measure of a play’s success is the quietness of its audience, coupled with unwavering gazes and complete stillness for the duration of a performance, then Dark Road is unquestionably a winner. Save for occasional gasps, some collective jaw-dropping and one lonely cough, the audience sat enthralled for the entirety of its two and a half hour running time. Dark Road retains the complexities and gritty realism of Rankin’s books and like any good crime novel provides enough twists and turns to keep the audience guessing until the very last scene. The only criticism that could be levelled at the piece is that there are a couple of scenes of slightly unnatural and at times, clunky dialogue but these are entirely understandable and necessary due to the theatrical constraints; everything has to be played out and stated on stage for the story to be established. That said, they don’t in anyway detract from the overall quality or pace of the piece. The second act is a masterclass in psychological drama, ramping up both the thrills and tension at a head-spinning pace.

The central performances are of such a universally high quality that it seems churlish to single anyone out but Beattie’s strength and authority shines through in her highly convincing portrayal of Isobel. Ron Donachie, as ever, brings a gravelly gravitas to the role of retired Inspector McLintock and Philip Whitchurch, is in turn chilling and convincingly innocent as Chalmers.

The set design by Francis O’Connor, is a marvel, rotating and transforming, twisting and turning to reflect the plot and coupled with an almost subliminal sound design by composer Philip Pinsky is significant  in helping establish the unsettling atmosphere that pervades throughout.

To say that Ian Rankin’s debut play has been much anticipated is an understatement and there is no doubt that this is an audience pleaser. Utterly gripping, gritty and great entertainment, this is a welcome and long overdue addition to the theatrical thriller genre.

Runs until 19 October