In a campsite, a young man is seen going about his practical tasks. A prominently placed rifle suggests he's involved in hunting. His disheveled appearance and almost primal movements leave the audience questioning the nature of his presence in this landscape, whether it's temporary or long-term. His actions are swift and focused, occasionally punctuated by alert gazes offstage, as if he's attuned to subtle shifts in the environment. As it turns out, there's another figure hidden in the brush, ready to emerge and kickstart the play's main storyline.
Interrupting this minimalist scene, a character named Jake (Tom Claxton) encounters Lyle (Ned Cooper), a schoolboy, who appears full of anxiety, restlessness, and excitement. Lyle explains that he has abruptly left his previous life and ventured into the remote Cumbrian countryside. When pressed for details, his reasons remain unclear, resembling scattered thoughts. He cautiously avoids full disclosure, as if he's still coming to terms with his own actions. However, he does reveal that he has a boyfriend, testing Jake's reaction to this revelation. Jake responds non-judgmentally and hospitably, putting Lyle at ease. Their interactions are spirited and sometimes contentious, as two lost souls recognize each other and move closer to a sympathetic bond. It's a sweet experience to witness their defenses gradually lower, revealing their vulnerabilities. Both boys find themselves in uncharted territory.
The play's emotional depth is anchored by the exceptional performances of Cooper and Claxton, who bring the characters Lyle and Jake to life with intricate and nuanced portrayals. Lyle's predicament inadvertently brings out a protective and gentle side in Jake, particularly in a haunting later scene that exposes the full extent of Lyle's troubles. Claxton's performance exudes a raw and charismatic energy that gradually releases buried emotions. Lyle's agitated and suspicious demeanor gradually calms as he feels safer with Jake, allowing him to open up and share his full truth. Cooper skillfully communicates the subtleties of his emotional transformation.
The script by Chris Salt takes center stage with its confidence and purpose. It avoids melodrama for the most part, although there is some intense action involving a gun that, while narratively sound, may be a bit excessive. Every word serves a purpose, and the pace is brisk, creating an urgent and engaging drama. Salt displays immense empathy for the central characters, who grapples with feelings of alienation and a sense of being out of sync with the world, as they seek a place to call home in an otherwise unwelcoming universe. Salt's ability to transition between different settings, from warm campfires to cramped cabins to harsh outdoor environments with minimal stage changes, is commendable. The compact performance space in the basement adds to the feeling of confinement experienced by the characters.
Director Janys Chambers approached the material with sensitivity, capturing the evolving relationship between the two characters as they connect, sometimes with ease and at other times with unease. Both actors exude a physicality that adds depth to their characters.
As ominous helicopters pass overhead, they trigger a sense of desperation in Lyle, setting the stage for the play's climactic moments. Earlier, Lyle listens to a distressing radio news broadcast, with Cooper skillfully conveying his fear and anxiety as he grapples with the consequences, pushing him to the edge.
In a finale reminiscent of "Thelma And Louise," Chris Salt pays tribute to both the romantic and fatalistic elements, with the two young men teetering on the precipice. Regardless of their ultimate fate, the audience is left with a lasting impression of these two well-rendered characters and their deeply human story, forever etched in the narrative. It's a testament to Salt's exploration of two resilient but sorrowful spirits.
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