Writer: Dan Blick
Castles, produced by Telos Ensemble, presents the development of one relationship, and, in many ways, of many relationships. As a miniature of modern intimacy, it may remind audiences of all kinds of familiar, unhappy memories with their (ex-)partners. Yet it also has an allure that makes the audience want to stay and watch how things actually unfold and where they lead, rather than walk away.
The story is set in an ordinary apartment shared by two characters, Jonny (Dan Blick) and Rain (Antonia Reinisch). The simple furniture onstage, such as the faded colour of the table legs and the creases on the leather sofa, reflects not only the closeness between this young couple but also that of countless others living in London. So do their quarrels, conflicts, and emotions. The play is composed of several scenes, and each faithfully represents everyday situations that many will find relatable. For example, sometimes the arguments just arise from seemingly trivial matters, but in fact often conceal deeper and more significant causes.
This is precisely the charm of the play: it not only captures the visible tip of the iceberg, or say, the climax of each conflict, but also gradually reveals what lies beneath the surface, including insecurity, vulnerability, self-doubt, desire, as well as uncertainty about oneself and the other.
The rhythm of each scene works well with the natural performances of Blick and Reinisch. They perform not just two individuals, but an entire relationship. The emotional intensity between Jonny and Rain is generated not by either actor alone, but by their interactions. This is undoubtedly also a result of Blick’s writing: his keen observation and sensitivity to the everyday language people use when navigating a relationship, especially as it begins to falter. This precision is most apparent when audiences, drawing on their own experiences, can resonate with the tension sparked by a single word or gesture even before the characters themselves do.
The production could benefit from smoother transitions between scenes and a stronger sense of progression in the relationship. It feels more like a series of short episodes following a similar pattern. While the monologues serve as a valuable springboard to reveal the characters’ inner thoughts and emotions, they may sometimes disrupt the flow, as the narrative after each monologue brings the audience back to the starting point of a new story that seems to lead toward a familiar conclusion.
Nevertheless, nearly every element of this play effectively captures the complexity of intimate relationships and how such relationships act as mirrors, reflecting truest selves before one even realises it. A more continuous narrative thread might make the production even stronger.
Runs until 11 October 2025
