REVIEW: The Pillowman at the Duke of York's Theatre

Martin McDonagh has written some extraordinary plays usually based around an Irish setting with dark comedy spoken by fascinating characters and gripping unexpected plots. His 2003 play The Pillowman which first starred David Tennant as Katurian is now revived by the wonderful Empire Street productions with Lily Allen returning to the West End in the central role. You know what to expect when you buy a ticket for one of his plays, a unique combination of brilliantly funny lines and grotesquely violent interactions. It's not for the faint-hearted or those easily offended by the language or very unpleasant stories and violence. 

This production engages us because of the stunning performances of the four central characters and impressive staging which brings it all to life. Lily Allen is the author Katurian K Katurian who has written 400 stories but only had 1 published. They are a modern collection in the style of the Brothers Grimm Tales, dark morality tales with sinister themes. When we meet her, she is being Interviewed by the lead detective, and good cop, Tupolski, a wonderfully nuanced performance by Steve Pemberton and his violent and impulsive bad cop sidekick Ariel, a frighteningly menacing Paul Kaye about a series of copycat murders based on her stories. Her brother Michal is played with convincingly emotional intensity by Matthew Tennyson, is also arrested and we are uncertain whether he is a fantasist, accomplice or acting out the stories. 

The clever staging means we see Katurian threatened and interviewed in one room, reveal the truth of her relationship with her brother in another and see short inset mimed scenes based on her stories. There is some very effective graphical projection to enhance the stories. It means they come chillingly to life and reveal hidden depths, but it is uncomfortable viewing of suffocation by pillows, crucifixion, burial alive and execution. We never have any sympathy for the four central characters although naturally feel concern for the young actresses and the girls they play in the stories. The long passages of read stories do slow the pace and your mind wanders to what Martin McDonagh’s intention was beyond shocking his audience. 

The Programme promotes PEN International, an organisation dedicated to celebrating literature and protecting freedom of expression and Katurian desire to ensure her work remains after she has gone as she battles persecution from the two integrators plays to this. But on the other hand, what attitude should we have toward writing that promotes violence or is liable to cause copycat murders by those who struggle to distinguish fact from fiction, surely some form of monitoring and censorship is required? Promoting understanding of cultures or even arguing for peaceful regime change is one thing but presenting sadistic murders in stories is something different. At least we in this country can make our own minds up whether to read or see these stories.

This is a dramatic piece and those who know McDonagh’s work will know what to expect. In Steve Pemberton and Paul Kaye, the production has a master class in a double act that turns from comical to horrific in a matter of lines and there are plenty of big laughs and loud gasps. As Tupolski says we must “draw our own conclusions, it’s our job”. This is not a play to book for without being fully aware of its style and content but if you do go you can at least draw your own conclusions and in some countries that is simply not possible. If you are a fan of McDonagh, Lilly Allen or Steve Pemberton then you will already know that it is going to be worth going before it closes on 2nd September.

Review by Nick Wayne

Rating: ★★★★

Seat: Stalls, Row B | Price of Ticket: £135