Absorbed by the world Andrew Sheridan sculpts in his debut play at Soho Theatre, Naima Khan reviews Winterlong.
Grim is not the word. Winterlong at Soho Theatre has a whole other kind of mercilessness to it. In the midst of gloom, abandonment and a dank, inhibiting fog, somehow the confused, caring Oscar is raised by his emotionally vacant grandparents after he gets abandoned by their daughter.
In a world brilliantly sculpted by writer Andrew Sheridan, Oscar grows up surrounded by death and violent acrimony, as an impending Armageddon looms (or so everyone seems to think). Designer Amanda Stoodley has created a deceptively simple set that seems to put the family underground. Wherever they are, they're certainly isolated and any interaction with strangers is almost painful to watch.
There's no strong plot to Winterlong, but so forceful are the characters and so inescapable is the atmosphere, you almost don't miss the lack of a storyline. As Oscar picks at scabs and tries to make friends with dodgy characters in Sheridan's cruel world, I find it impossible not to worry for the little guy, whose child-like innocence is flawlessly embodied by Harry McEntire.
Like Oscar, the audience begins to crave a moment of warmth from someone, anyone, but even the I love yous sound cold and desperate. Scenes dip periodically into Oscar's life and we get to know his grandparents during his infancy and watch his life become increasingly empty, punctuated with short monologues that show the Bruntwood Prize-winning Sheridan's grasp on his characters. Some might call it wordy, but I like the detail and stark imagery he conjures.
What it does, it does well, but Winterlong lacks originality. Then again, I applaud writers who can revisit themes and stir up their audience into an emotional mess. Thankfully Sheridan leaves us with something hopeful after two and a quarter hours of filthy cruelty, only beaten by a surprisingly strong, sweet kid.
Winterlong runs at Soho Theatre until 12th March
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