Theatre Review: Blackbird by David Harrower, Royal Court, Liverpool

Blackbird, Liverpool’s Royal Court – presented by Roots Theatre

By Ken Powell

**TRIGGER WARNING: THIS REVIEW CONTAINS REFERENCE TO SEXUAL ABUSE AND PAEDOPHILIA**

Roots Theatre have – after many pitfalls including an entire pandemic got in the way – finally pulled off an astonishingly difficult production which is as important as it is uncomfortable. In their latest of problems to overcome, the cast lost their lead actor – Nick Bagnall – to illness and he was replaced, at last moment, by the superb Duncan Ross. It is a tribute to the company’s determination that this play must be seen that they succeeded in an excellent first night.

The story takes place in a workplace room where Ray (played by Duncan Ross), has taken Una (Bex Culshaw), a woman with whom Ray had a relationship when she was just twelve years old and he was forty. Now, fifteen years later and long after Ray has served time for his crimes and made a new life, she has unexpectedly turned up. But what does she want? And has Ray changed?

It would be easy to write a simple ‘black and white’ story here, melodramatically playing out popular tropes about paedophilia. Alternatively, making Una a teenager might have allowed for ‘blurred lines’ between immorality and unconventionality. Harrower doesn’t allow us either get-out. Instead, he takes us deeply into both characters’ weaknesses and desires. We don’t just get Una’s version of events, we learn Ray’s too.

The title of the play is never referred during the hour or so the characters are on the stage, nor explained. But blackbirds have a range of symbolic meanings including being harbingers of news – good or bad – and being darkly mysterious. In this we can question who is the blackbird here? Is it Una – whose motives for coming Ray can’t figure out? Or is it Ray – who vehemently denies being ‘like them’ (those who prey on children) but whose life seems literally and figuratively a mess, suggesting he may not be as guilt-ridden and reformed as he claims?

This ambiguity is deliberate but essential as we are sucked into the stories of these two flawed human beings. Can we find forgiveness for Ray, and begin to understand what he has been through? Does he deserve his redemption? Or is he a bad man, unforgivable, long after society has said he has paid his debt? And what does Una want of him now? Revenge? Answers? Or for Ray to tell her he didn’t use her all those years ago, but loved her, and her heart wasn’t broken after all for no reason other than to satisfy the lustings of an older man? Can she forgive and – much harder to watch – does she still love him?

I won’t even begin to give you answers (though some do become apparent as the play progresses, or at least hint of their existence) but I will say it is worth going to find out. This is a thought-provoking play that avoids becoming too black and depressing. The Q & A after the show showed an audience that had grappled with the issues and were enthusiastic to discuss them. I feel certain that many dynamic discussions took place as everyone went home.

As for the staging, the studio at Royal Court is ideal for this kind of intimate production. The cabaret-style layout of tables in the centre surrounded by more formal tiered seating is an interesting mix of atmosphere which helped to keep the mood lighter than it might otherwise have been. The staff provide plenty of warnings displays and helpful information for anyone who might be triggered by the themes discussed. The only downside was a slightly distracting dull boom coming from music played far too loudly elsewhere in the building.

Despite only having hours to prepare and needing to work from a script, Duncan Ross did a convincing job – indeed, with his formal work clothes on, he just looked like a man trying to concentrate on paperwork. He presented Ray’s side perfectly. Equally convincing was Bex Culshaw who, arguably, had the harder role to do justice to the very real destruction caused by child sexual abuse. There is a third player, Harriet Bibby, who takes a very small role. I will not give any spoilers but just say she was excellent, and the role is essential and gut-wrenching in equal measure.

Overall then, this is not a play for everybody – indeed, this obviously not for children nor anyone who is suffering considerable trauma. But it is a play that deserves respect and the most carefully handling. The whole team at Roots Theatre have clearly worked hard – from lighting, to stage setting – to deliver a story that packs a punch. Sasha Georgette’s direction has ensured this was not all to waste. Likes Una’s story – and all the victims she represents – this production deserves to be told to as many as possible.

Blackbird is showing at Liverpool’s Royal Court Studio from Wednesday 13th until Saturday 16 July 2022. To find out more call the Box Office on 01517094321 or visit www.rootstheatre.co.uk.