You’re first encounter with a show is usually discovering its title. This is not only an eye-catching title for a play but it is multi-faceted and layered with some poignant ideas. Especially as ‘Drowning In Silence’ investigates grief and loss through the eyes of two sisters. Something universal we can all relate to.
This one act drama was part of The Greater Manchester Fringe Festival. It was directed and written by Roni Ellis. Starring Emily Cox as Michelle, and Libby Hall as Jane. The play is on until Friday (26th July) – here are the reasons why you simply cannot afford to miss it.
Michelle and Jane were the two sisters, who were once very close. One day things changed because their mum was no longer around. A change out of their control which the sisters and their father struggled to deal with. Nothing was normal anymore. Lies were told to ensure protection from the truth. Loneliness, isolation, and secrets made family life even worse. The conversations that should have taken place, never did. Circumstances altered and then it was too late.
It’s hard to believe Cox and Hall are the ages they are. There was maturity, sensitivity, fragility, investment, and commitment demonstrated in their performances. Nothing about this drama or their acting was overdone or forced, they effortlessly and simply told this beautiful story; I’m referring to that cliché, once again, of ‘less is more’. I feel like Ellis’ direction played a part in this approach. You forgot about their age, this was two young acting talents in command of the play’s proceedings and in control of their own performances. The character differences between when they were like 6 and 9 years old and when they were teenagers was marked and life-like.
In Michelle and Jane’s childhood years, it was interesting how the story highlighted how danger lurks around every corner. There are hazards and varying percentages of risk to everything we do but we shouldn’t let that stop us. It was dramatic foreshadowing but also got you thinking. The ambiguity around aspects of the plot kept you engaged and guessing as to what was really going on. The reminiscing and replaying of memories was moving - as was the theme music, which performed as a trigger for those recollections. I saw that the play advertised itself as ‘physical’ in style but to be honest it was ‘naturalistic’ really, even with the notable theatrical images such as Jane despairing at Michelle’s feet.
The set was ambiguous though, we could have been in a bedroom or a living room, this could have been clearer. The props were utilised well in the story, however. Derek Ridings’ lighting had two programmed sets of general cover: the first design was clinical and cold; the second was warm and hopeful like the sun on a beautiful day in a park. This brought a flavour of love, hope, and nostalgia.
Ross McCormack’s film footage was sympathetically shot and dramatically edited, it’s just a shame the projected image was too big for the white screen. The white screen didn’t look right anyway against the rest of the design, perhaps the film footage could have been projected another way?
All things considered, the minor things didn’t really matter overall because ‘Drowning In Silence’ was unostentatiously moving and powerful. Cox and Hall gave impressive and instinctive performances. As they both gain more life and stage experience, they’re just going to get better. They did Salford proud.
Reviewer - Sam Lowe
on - 24/7/19
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