I have long been fond of playwright
Simon Stephens’ skill in creating unremittingly bleak portraits of
ordinary people and then right at the end offering a glimmer of hope…
not of artificial redemption, but just the faint prospect that
characters may stop so compulsively screwing up their own and each
other’s lives.
Wastwater
has given me a new experience: the bleakness without the hope. I still
admire the work, it still speaks to me, but it does not
sing.
The
publicity material describes the play as an “elliptical triptych”: a
beautiful phrase and an accurate one. We see three scenes, each 30-35
minutes long, each self-contained although oblique, incidental links
are made between the characters. In the first, Harry (Tom Sturridge,
who made such a powerful début in Stephens’
Punk Rock)
is taking leave of his foster-mother Frieda (Linda Bassett) before he
flies to Vancouver, to some unspecified “centre”; he apparently has a
job there, but seems so unsocialised that he could as easily be an
inmate. In the second, Mark (Paul Ready) and Lisa (Jo McInnes) are
meeting in a hotel room for an illicit sexual tryst; Lisa’s increasing
revelations about drugs, sex and violence shock Mark but do not
altogether repel him. In the third, Sian (Amanda Hale) plays thoroughly
unsettling power games with Jonathan (Angus Wright) in a disused
warehouse or sub-garage before a people-trafficking transaction takes
place; it does not matter whether the motive is sexual or not, the
commodification of the human consignment is the salient point. This
provides the ending in which Stephens may intend his usual chink of
hope but I can espy none.
The scenes
seem to be played out simultaneously at disparate locations near
Heathrow’s Terminal 5: at roughly the same points in each scene, we
hear the sound of jets overhead and the lights momentarily dim. (I am
disappointed and perplexed to find that the script in fact identifies
the first scene as taking place two days later than the other two.)
Director Katie Mitchell turns in one of her rigorously unshowy
productions. Wastwater is the deepest lake in Britain, and nowhere near
Heathrow; it is apparently a favoured spot for dumping corpses. That is
the sense I take away from this increasing series of scenes of
disconnection and awkwardness escalating to unpleasantness then
repulsion: that the deeper one goes, the darker it gets, and there is
nothing to find but bodies.
Written for the Financial
Times.