‘A Sashimi Knife of a play’ as described by director Ed Madden is a completely fitting way to reflect on this piece. Sharply detailed, but definitely Old School. The real strength being the writing by Marek Horn which is the back bone of the piece- it’s witty, jarring and when looked at visually on the page tantalising for an actor and creative team to unpick, carve out and probe.
It’s really good writing, put simply it is about what happens when the fish go away and half of the world is under water. With this depiction you’d expect the stage to be set in a suitable fractured and sophisticated way to not only support the razor sharp writing and delivery of the company but also an opportunity for the director to use their skill and ability to showcase our industry post pandemic. However, a lack of imagination and a lack of listening as well as collaboration seem apparent.
The set is a courtroom, suggesting in its sloping sides maybe the hull of a boat or perhaps even the shape of a tin of canned tuna- nodding to the sacred last hope to finding out: “Where did the fish go?” and the harrowing tomb of Calantini’s brother.
That is where the imagination stops, the rest is just lazy carpet, a table and some flimsy microphones- These being a huge device within the piece, both vocally for the actors but also as an anchor which is referred to constantly: ‘let the record show’, even at huge pivotal moments being turned off altogether. Why were these not elevated more? Or given more emphasis? Maybe a conscious choice, but arguably a boring one which is in direct contrast with the play which is absolutely not!
The design makes this piece feel like it was made 20 years ago, it really has the scope to be fragmented to show how we can deconstruct new writing in a way that heightens the text and gives elevated narrative whilst leaving room for play. It’s quite disheartening to see.
Unfortunately this setting was also offset by a clear lack of movement work. Moments suggested at by the actors were not fully realised or supported, a slow mo sequence in which a cigarette is lit is completely jarring, surely its basic logic to realise you can’t slow down smoke in real life so this just looks strange? These somewhat minor details may seem like nothing, but in a production where due care is taken on every other aspect, these not only matter, but are vital to realise the full potential of the story. It all seemed unimaginative and not understood. With such a rich storyline we should not only strive for this through the characters but also within the movement language to support the actors and the director... hoping that a bit of underwater slow acting with a blue light will do for a scene transition just doesn’t cut it, this dated approach to form is not the theatre we want to be making or seeing now, surely?
Aside from this frustrating guise set up by a incomplete creative team, brilliant performances from both Nicholas Day (Roy) and Joshua James (Calantini) shine in the piece - their palatable listening and care for their other actors lead to brilliant moments of joy and despair. Day stealing the lasting memory with the final moment of ravenously and triumphantly feasting on a can of harpoon opened tuna, it was brilliant. Pace throughout the piece was misjudged but with time to settle in to a run hopefully the company can begin to live in that moment and not on previous versions of what worked in rehearsal.This is a triumph in new writing that wields its language as an absolute tool for change, it highlights current reality, our past but also the terrifying future we present ourselves. However this piece is screaming out for collaboration from people ready to try something new. It’s a blaring example as to what could be if creatives dare to be braver in their choices and arguably given that space and time to create along side the whole company.
‘Yellowfin’ directed by Ed Madden and written by Mark Horn is playing at Southwark Playhouse until 6th November.
Review by Racheal McDuffy
Rating: ★★★
