Director: Kevin Tomlinson
Writer: Abigail Hood
Abigail Hood’s shocking new play Monster is a harrowing piece of writing, both fascinating and uncomfortable, which examines the human capacity for cruelty before deep-diving into the limits of forgiveness.
Staged in traverse, the set depicts a wasteland that happens to be the hangout spot of Glaswegian teenagers Kayleigh and Zoe. Together the pair are light-hearted and playful but their lives beyond each other are complicated and harsh, so they dream of running away to live happily ever after on the Isle of Muck. Of course, even the best-laid plans can go astray, and between their demanding parents and unprofessional teachers, the pair stumbles into a tragedy that will change their lives forever.
Whilst specific details are best avoided to preserve the surprising events of the play, lists of content warnings are made clear pre-show. Even with these preparations, however, Monster stills packs an intense punch, rife with shocks and hard-to-watch interactions. Hood does a fantastic job of depicting flawed characters with empathy and brilliantly captures the war of emotions that accompany guilt and grief.
Such dramatic writing can easily stray into the fantastical without nuanced performances, so it is also a credit to the whole cast that this piece feels incredibly natural. Each actor invests heavily in their character’s emotional journey – to the point that the audience can’t help but empathise with every ‘side’ of the narrative, which makes for a very thought-provoking experience.
As Kayleigh, writer Hood delivers a fiercely passionate performance that is balanced with painfully vulnerable moments, keeping the audience onside despite a frighteningly aggressive nature. Emma Keele and Kevin Wathen play parents pushed to the edge of their mental capacity and it is heartbreaking to see how their relationship deteriorates, as they lash out at each other whilst ultimately craving each other’s support. Kevin Tomlinson, who also directs Monster, appears halfway through the narrative as John and quickly makes his impact, displaying real compassion in the aftermath of the first act’s events.
A cluttered set design functions well in the first act, as the cast rearrange pieces to suggest different locations and the visual chaos parallels the messy lives of all involved. Meanwhile, a stripped-back layout for the second half perhaps indicates a clean slate. This staging is less smooth however, existing midway between bare and messy, and an odd decision is made to disregard one of the benches completely by placing another directly in front of it.
Monster is undeniably a gut-wrenching and emotional piece, however Hood is never gratuitous in her depiction of trauma. The script raises some hefty questions and offers no simple answers; this is not an easygoing evening at the theatre but it is certainly an impactful one.
Runs until 20 August 2022
