Nocturnal at The Gate Theatre

Nocturnal at The Gate Theatre

12 May, 2009
by: Belias

Shrouded in darkness at the claustrophobic Gate Theatre, there is an overwhelming sense of the surreal as I await the opening curtain call of Nocturnal. Jungle noises swirl around the little room, while a flickering screen next to the stage acts as a zoological display, broadcasting the peculiar habits of Homo sapiens. As the noises fade, the display switches to a late night TV programme where a talking head answers calls throughout the night, helping tortured souls with their incurable insomnia. White noise interrupts the scene, the curtains swing open, and we are introduced to two nameless characters that have known each other for months, but are about to speak for the first time.

So begins Nocturnal, a brilliantly dark study of loneliness, obsession and insomnia. As Londoners, we interact with hundreds of people daily. On the tubes, streets and in the shops, we pass dozens of strangers and sometimes share a glance, almost always share a breath, but rarely ever share a word. The nameless men are neighbours Short Man and Tall Man, played by Paul Hunter and Justin Salinger, and innocent first words end with the coercion of a friendship through blackmail. The dialogue provides subtle humour, and specifically sets up much of the play’s themes, including the central one of manipulation.


Strangers in the Night - Justin Salinger and Amanda Lawrence

The following scenes introduce the men’s wives, played by Amanda Lawrence and Justine Mitchell, and parallels are drawn between their respective relationships. Strong and independent, Tall Woman is the polar opposite of emotionally crippled Short Woman, who is seen as a slave to the distant Short Man. The underlying theme of power binds both scenes, with the characters grappling for control of their relationships. Whereas Short Man is clearly the dominant power in his relationship, Tall Man and Tall Woman seem to have achieved a sense of balance, though unease lurks below the surface.


Anywhere but here - Amanda Lawrence and Paul Hunter

Each scene slowly adds to this sense of dread, and it becomes clear that this tale can only end with the undoing of Tall Man. One particular scene takes place in a zoo, where the actors gaze into the audience through the fourth wall and compare them to various animals at the zoo. The men then turn their judgements on each other, and Tall Man is compared to an animal that is vulnerable and needs the protection of others, protection that Short Man is no doubt adamant to provide. Later, as Tall Man argues with his wife, the balance of their relationship is destroyed, and he has clearly slipped into the role of dependant, a role that she has no desire to accept.

Nocturnal suggests that despite our advancements, humans are living in self-created zoos, harbouring primal urges of manipulation and control. Every character in the play chases fulfilment via their relationships, and in the end, only the Short Man achieves complete control. In the final scene, Tall Man is forced into a romantic dance with Short Woman, while her husband looks on, pushing a toy train along their table. As the lights dim, the sounds of the toy train echo through the theatre, and the real train carrying Tall Man’s wife whizzes past in the background. Short Man witnesses silently, cracking a wry smile and enjoying the fruits of his manipulation, having never doubted his success; for as he had said during the course of this strange evening, he has always been good with his hands.

Nocturnal is on at the Gate Theatre, but is unfortunately at the end of its run. The final performance is on Saturday 16th May. See it while you can.


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Belias