Aberdeen Repertory Theatre debuted in the Blue Lamp last night with raw and earnest energy with an adaptation of Martin McDonagh’s darkly riveting play “The Pillowman,” grappling with complex themes of storytelling, trauma, and censorship. Directed by Keegan Gess, this rendition showcases Aberdeen’s fantastic local talent while delivering a thought-provoking experience.
It tells the tale of Katurian, a fiction writer living in a police state, who is interrogated about the gruesome content of his short stories and their similarities to a number of bizarre child murders occurring in his town.
The lead role of Katurian, the troubled writer at the heart of the narrative, is played with commendable depth by Suren Jayasinghe. Jayasinghe’s portrayal is intense and layered, capturing Katurian’s tormented psyche with a mix of vulnerability and defiance. His delivery of Katurian’s chilling stories, which are central to the play’s disturbing allure, are particularly effective, drawing the audience into the macabre worlds he conjured.
Michal, Katurian’s younger brother played by Michael Garden, is mentally challenged and has endured significant abuse, which is a pivotal aspect of the story. Gardens depiction of Michal is emotionally charged, portraying him with a blend of innocence and tragic vulnerability. His ability to oscillate between moments of childlike wonder and the trauma inflicted upon him is poignant. Garden takes great care in performing Michal, tastefully done he maintains the nuanced depth that the character requires, without becoming over-simplified or leaning into stereotypes. His performance is crucial in highlighting the play’s exploration of innocence corrupted by violence.
The detectives, Tupolski and Ariel, played by Alec Westwood and Ciaran Drysder, brought a necessary balance of menace and dark humour to the proceedings. The pair are electric to watch, with biting dialogue and explosive energy enhancing their characters’ brutality and vulnerability.
Westwood’s Tupolski, the senior detective, is characterised by his dry wit and detached demeanour. Westwood’s performance brings a sharp, sardonic edge to Tupolski, effectively embodying the character’s cynical outlook. His interactions with Katurian and Ariel reveal layers of Tupolski’s personality, balancing his role as a seemingly detached interrogator with hints of deeper personal convictions and emotions. Westwood’s controlled performance lent an air of unpredictability to Tupolski, keeping the audience engaged and uncertain of his true intentions.
Drysder plays Ariel, the junior detective who is more overtly aggressive and emotionally volatile than Tupolski. Drysder’s portrayal is intense and impassioned, imbuing Ariel with a palpable sense of inner turmoil. His performance is marked by sudden outbursts and a brooding presence, effectively conveying Ariel’s personal vendetta against those who harm children, stemming from his own traumatic past. Drysder manages to humanise Ariel with outstanding ease, making his aggressive methods understandable, if not justifiable, and adding depth to his character.
Keegan Gess is a one man band, as Director, Sound, Lighting and Stage Management. Gess’ direction demonstrates a clear understanding of McDonagh’s intricate narrative. The decision to emphasise the interplay between reality and fiction was evident in the minimalist lighting and set design, which featured stark, oppressive interrogation rooms that juxtapose Katurian’s evocative stories.
The pacing of the production is tireless, the audience are zipped through McDonagh’s razor-sharp dialogue expertly, however still allowing the character’s emotionally charged monologues to remain poignant and provoking. One gripe will be scene changes. Understandable in The Blue Lamp with a minimal cast, changes were bound to be a bit finickity. Scene changes are underscored while Gess and his cast reorganise the stage, pulling the audience back to reality. However, as a debut production, where Gess’ high-powered cast are magnetic, they quickly plunge the audience back into McDonagh’s world of the Pillowman.
Aberdeen Repertory Theatre’s debut production of “The Pillowman” is a commendable effort that captures the essence of McDonagh’s dark and complex play. The cast’s commitment and the director’s clear vision result in a production that is both engaging and thought-provoking. With biting dialogue and chilling dark humour, this production is a testament to the talent and dedication present in Aberdeen theatre and a reminder of the power of storytelling, even in its darkest forms.
The Pillowman is running at The Blue Lamp at 7.30pm from 15th to the 16th July 2024.
Get your tickets here: https://www.eventbrite.co.uk/e/the-pillowman-tickets-925193276997
Alternatively, tickets are available at the door.
Theatre Scotland 
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