Dominic DiNezza reviews Matthew Parker's take on J.M Barries's story of otherworldly lost innocence.
Written in 1920, Mary Rose seems like the play that Peter Pan might have been, were it written after the collective societal shell-shock of the Great War.
The classic haunted-house set-up begins with demobbed soldier Harry (Charlie Kerson), who returns to his family home after many years to find it a deserted near-ruin, inhabited only by the creepily evasive Mrs Otery (Joanna Watt) and a host of agonised spirits.
In the course of the night, the ghosts reveal to Harry the history of his family's downfall. The Morlands - his grandparents - inhabited with a convincing stoic helplessness by Nicholas Hoad and Maggie Robson, find the celebrations at their daughter's engagement to Simon Blake (Carsten Hayes) cut short at the realisation that the happy couple will honeymoon on the Scottish island where she disappeared many years ago.
Their fears are confirmed when Mary Rose (Jessie Cave), does indeed repeat her vanishing trick - this time seeming to be truly gone forever, even when she puts in an unexpected reappearance.
The notion of the child who never grew up blends interestingly with the theme of then-undiagnosed PTSD, especially as the older generation struggle to adapt to a world evolving mercilessly beyond them. It's a shame therefore that Barrie doesn't really develop this theme beyond its initial pathos. The central couple also feel emotionally underpowered, notwithstanding that Cave and Hayes never lack for pep, and Hayes in particular is affecting as a simple man broken-hearted in incomprehension.
Director Matthew Parker creates a suitably eerie atmosphere, exploring the subtleties of Cherry Truluck's evocative 'Others'-inspired set to good effect. Less successful is his choreography of the spirit ensemble, who for the most part are intrusively busy rather than otherwordly. Composer Maria Haik Escudero's contribution is also hit-and-miss, ranging from haunting live choral work to incidental pieces reminiscent of a forgotten Goth album track.
Overall though, this is an ambitious and committed revival of a play that intrigues but ultimately feels ironically trapped in a bygone era.
Mary Rose runs at Riverside Studios until 28th April.
Image by Laura Harling
Like our Facebook page
Click here for Theatre in London
Click here for Things to do in London
Add an event
Review: Disgraced at Bush Theatre
Writer Ayad Akhtar is a peculiar tour guide taking us through very familiar territory, intent on showing...