Writer: Richard Bean
Director: Emily Burns
Reykjavik transports us to Hull’s trawler-fishing industry, centring on Donald Claxton, a hardened shipowner whose reputation is tainted by the sinking of Graham Greene. This is his second boat to go down, placing Claxton at the centre of blame and resentment among Hull’s fishing community. While the fishermen sail into the harsh wind off the coast of Iceland, Claxton steers into and faces head-on the internal turmoil of responsibility and guilt. Echoing post-Brexit Britain, the story unfolds in 1976, just after the UK’s vote to join the EEC, grounding the play in a period of shifting national identity.
The first half takes place in Claxton’s office, gradually introducing the local community of characters and their fraught relationships. The second half moves to Reykjavik, where fishermen navigate the emotional burden of surviving. Richard Bean’s script captures the quick back-and-forth of naturalistic dialogue, illuminating the realities and specificities of the fishing world and grounding the plot in a world defined by economic and personal stakes. Despite its engaging setup, the story falls short of a resolutive ending. However, Bean shines in his ability to paint a vivid picture of Hull and its fishing industry, crafting distinct and complex characters as well as the intriguing web of relationships between them.
Emily Burn’s direction is strongest in the first half, creating tension through measured silence and subtle performances. However, the focus wavers in the latter half, resulting in a confusion of genre and patchy pacing. Nevertheless, Burn excels in maintaining dynamic and fluid staging within Anna Reid’s elegant set. The transformation from Hull to Reykjavik enriches the world-building through the detailed and rich design. Oliver Fenwick’s lighting accentuates uneasy moments in the second half, using horror-esque elements to visually add tension and highlight the themes of guilt.
John Hollingworth’s portrayal of Claxton is self-assured and commanding, though somewhat distant in conveying deeper remorse and emotion. The supporting cast brings depth and authenticity: Laura Elsworthy’s bolshy Lizzie, Sophie Cox’s deadpan Einhildur, Matthew Durkan’s despicable Jack, Adam Hugill’s clueless Snacker, Matt Sutton’s amiable Baggie, and Paul Hickey’s enigmatic Quayle. Each performance is grounded in genuine, believable reactions that keep the audience engaged throughout the unfolding drama.
Reykjavik offers a compelling glimpse into a largely forgotten industry, probing essential questions about accountability and responsibility in a capitalist system that often exploits its workers. As unions continue to wane, these themes resonate and remain pertinent today, giving Reykjavik both historical significance and contemporary relevance.
Runs until 23 November 2024