Sunday 25 February 2018

Star Andrew Scott shines through a weak script in Sea Wall

Sea Wall, Project Arts Centre, Dublin

Andrew Scott
Andrew Scott

Katy Hayes

Andrew Scott is a star. Known to television viewers as Moriarty in Sherlock, and to Irish cinema fans for recent excellent work in The Stag, his name can now fill a theatre. He returns to the Irish stage for the first time in 15 years in this Paines Plough production - presented by Dublin Theatre Festival - of a work that was written for him in 2008 by Simon Stephens.

Scott plays Alex, a photographer on a French seaside holiday with his wife, daughter, and father-in-law. A catastrophic accident occurs and Alex's blissful life falls apart.

Originally commissioned for minimalist staging by London's Bush Theatre at a time when that venue's building was damaged, these parameters are observed in this presentation, too.

The stage and audience are brightly lit under work lights, with no set and only a bottle of water as a prop.

There is just the performer's talent, and the script. That is all.

Scott has the actor's magic, and hits all the emotional intensities of the story with vulnerability and precision. But the 30-minute script is so slight, he is building bricks without straw.

Alex is a nice man who loves his wife and daughter. You couldn't describe him afterwards, because there is no characterisation created in the writing. The primary thing the script offers is an emotional peak, and while it gives the actor an opportunity for a canter, it just isn't meaty or satisfying enough. It doesn't contain enough insight into the pain.

This type of tragedy has been dramatised much more effectively elsewhere.

Far more interesting was the post-show discussion on Tuesday night. Scott was joined by director George Perrin, who was understated but razor sharp, and also by the writer Stephens, who was much more interesting than this particular script.

Irish Independent

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