The Pillowman

Having visited Peterborough Mask Theatre for their excellent production of Blackbird recently, expectations were high for their next offering and The Pillowman, directed by Helen McCay, did not disappoint. This dark comedic drama, written in 2003 by Irish playwright Martin McDonagh, certainly delivers, with comedy moments and some touching scenes between Katurian and his brother - alongside sarcasm and violence from his interrogators and brutal details about child murders. A veritable assault on the theatrical senses.

As the audience entered the theatre space we were immediately made to feel uncomfortable as seated before us, on a stark stage set, is a man - blindfolded. This, we later learn, is the writer Katurian played by Pete Unwin who tackled this tricky role with much sensitivity. The passion with which he recited his stories was excellent and we could clearly see his love of writing and the pride in his life’s work, set out on the table before him. The relationship created between himself and brother was superb, with some touching moments that were a joy to watch and really tugged at the heartstrings. I did feel however that more fear at the hands of his interrogators would have been appropriate here so that we could feel a stronger contrast in his emotions. A great performance that could just go another step - well done.

Katurian’s interrogators, Tupolski and Ariel, played by Phil Lewis and Matt Robertson, took us on a different journey, ensuring that we felt uncomfortable whenever they were on the stage and had us wondering where this would all lead. Matt Robertson as Ariel was violent from the outset, contrasting well with the later scenes when we learn about his childhood. Angry throughout, some brooding, underlying rage just bubbling under the surface may have created another dynamic to this character. Phil Lewis as Tupolski was a joy - bringing sarcasm, comedy and brutality to the piece as he played good cop to Ariel’s bad cop in the early scenes. His depiction of the little deaf Chinese boy later on was brilliant. Some excellent acting throughout and an absolute pleasure to watch.

Carl Perkins perhaps had the hardest job of all in portraying Michal, Katurian’s mentally disabled brother. This role must be handled carefully, as it can so easily spill into farce. Carl however did an outstanding job, keeping us hooked on his every word and taking us on his sad and difficult journey with wonderful mannerisms and speech patterns appropriate to the role. A superb performance - great physical skills and vocal dexterity - congratulations, you captured Michal brilliantly.

Father and Mother, Jonny Hate and Becky Owen-Fisher, played their parts well and their make up and the movement they created was beautiful - a fitting contrast and a welcome relief to the brutality of the piece. Congratulations also to Faith Perkins as the Little Mute Girl who looked suitably shocking and delivered her sign language with great professionalism - well done.

The set (John Crisp) and lighting (Di Fox) were both excellent. The use of soft golden glows, as Karturian told his stories and drifted into his own world of brutality, completely at peace with himself, was an inspired choice - and the grave depicted in light was excellent. Strobe lighting effects for the dance pieces ensured that the play had some light and shade and contrasted well with the stark interrogation room set with its single hanging spotlight. Costumes by Katie Lee were good, I particularly liked the two policemen in their stark black outfits and jackboots, befitting of a totalitarian dictatorship and almost futuristic-looking. Very threatening.

“The only duty of a storyteller is to tell a story”  

and Peterborough Mask Theatre did that superbly. 

Congratulations on an excellent production.

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