The Skriker

Another wonderful evening spent at Preston College, this time inside the intimate black box studio, a space I know well from previous performances but had never seen transformed quite like this. The Actor Training Academy (ATA) presented The Skriker by Caryl Churchill, and from the outset it was clear this would be an ambitious and highly immersive interpretation of the text. As I queued outside, I was intrigued by the repeated announcement that we would not be able to leave the space until the end of the performance. Once inside, the reason became clear. A traverse stage divided the room with seating on either side, forcing a fully immersive engagement with the action. It was a brilliant use of the space, even if the coldness that greeted us felt almost like part of the world we were stepping into.

As we entered the performance space, the action had already begun. Characters occupied the stage, moving through the world of the play before the audience had even settled into their seats. As someone who particularly enjoys immersive theatre, this immediately appealed to me. Rather than feeling like a spectator waiting for a performance to begin, I felt as though I had stepped into an existing world and was simply observing events already in motion. The mood was unsettling and intriguing from the outset, drawing the audience into the production before a single formal scene had begun.

The low lighting undoubtedly contributed to this sense of mystery and anticipation. However, it did make the programme difficult to read before the performance started. As a result, I entered the production knowing very little about the story or its characters. In some ways, this enhanced the immersive nature of the experience, but it also meant that I occasionally struggled to fully understand what was happening narratively. That said, while I found aspects of the plot challenging to follow, I never stopped appreciating the effectiveness of the production itself. The visual storytelling, movement work, soundscape and atmosphere were so compelling that I remained completely engaged throughout.

From the start, we were transported into a strange, otherworldly realm. The ensemble, all from the Actor Training Academy, embodied masks for much of the performance, crafted with brilliance by lead mask designer Saskia Lincoln. These masks were haunting and effective, though I must admit they occasionally made it difficult to distinguish individual characters, particularly as multiple actors portrayed the Skriker. The masks did far more than conceal identity. They transformed the performers physically, creating creatures that felt both human and otherworldly, adding significantly to the production's distinctive visual language. Among the many performers, Tia Percy Hamilton as Lily and Emily Myrta as Josie provided strong focal points for the audience, navigating the space with confidence and commitment despite the unconventional staging.

The direction from Sara Hartington and John Mark Reid was exemplary. Every entrance and exit was choreographed with precision so that the production never lost momentum. There were no blackouts interrupting the flow, only constant movement that kept the world alive around us. The fluidity of the staging was one of the production's greatest strengths and ensured that the audience remained fully engaged throughout.

I also have to mention the movement coordination by Jake Slater and Daisy Lowe. Every twitch, every rigid step and every physical choice felt intentional. The cast moved as one, creating a constant sense of unease through sharp, almost animalistic movement. It was clearly the result of countless hours of rehearsal. No moment felt static. Every second there was subtle movement somewhere within the space, reinforcing the eerie and otherworldly nature of the world we had entered.

I found the narrative challenging to follow at times, though this was perhaps heightened by my limited understanding of the production before it began. However, the avant garde style fully supported that sense of disorientation. It felt like a deliberate artistic choice rather than a flaw, immersing the audience in a world that was fragmented, dreamlike and deeply unsettling. While I did not always understand exactly what was happening, I was continually captivated by how it was happening. My eyes were constantly darting across the entire theatre space, with action taking place all around us. Characters appeared behind me, behind the opposite side of the audience, and close to where I was seated, while dialogue continued elsewhere in the space. This was not a production where you simply watched the stage, it was a performance we were fully involved in. Even a dancer remained onstage throughout the entire performance, and I would like to commend that performer, whoever they were, as their stamina and commitment were remarkable. Due to the masks, I was unable to distinguish them, but they sustained movement and presence for the full hour and a half.

Dec Murray's lighting design was another highlight. Patterns swirled across the floor, characters emerged from darkness with startling effect and the atmosphere was heightened by the chill that lingered in the room. The lighting worked in harmony with the movement and sound to keep the audience on edge throughout.

Daisy Hayes, Tasharna Wilkinson and Olivia Platt also deserve recognition for their monumental underworld mask, a gigantic face constructed from wood and cardboard that became a striking visual centrepiece of the production. It was a remarkable feat of creativity and craftsmanship. This mask did support one of the standout performances of the evening from Clara Redfern. Her portrayal was truly extraordinary. Every word she delivered carried perfect inflection and intention. She navigated the highs and lows of the character with precision, drawing the audience into every moment. Her vocal work was chilling and her physical characterisation was equally impressive, from the rigid tension held in her fingertips to the deliberate backward steps she took from the stage. It was a mesmerising performance that held my attention whenever she appeared.

It was also a genuine pleasure to see several former students continuing their training and performing at such a high level. Productions such as this serve as a reminder of the strength of Performing Arts provision across the region and the opportunities available for young people wishing to pursue further study. Seeing familiar faces thrive in a demanding and ambitious production is a testament not only to their own dedication, but also to the vibrant Performing Arts community that exists within Lancashire.

Regular readers will know that I take great pleasure in recognising the contributions of individual performers and creatives. Unfortunately, on this occasion, the sheer size of the company and the extensive use of masks made that almost impossible. However, this felt entirely fitting for a production that celebrated ensemble work so successfully. Every movement, every technical cue, every mask, costume and design choice worked together to create something far greater than the sum of its parts. Whilst I have highlighted a handful of individuals, this was undoubtedly a company achievement and every person involved should feel immensely proud of what they have created.

In short, this was a collaborative triumph. No single person stole the show because the success of the piece rested upon the combined efforts of the cast, creative team and technical crew. While I did not always grasp every aspect of the narrative, I never stopped admiring the artistry, imagination and commitment on display. Preston College and the Actor Training Academy should be immensely proud of what they have created. It was an immersive, thought provoking and highly memorable evening of theatre.

Productions such as this remind us of the power of theatre to challenge, provoke and inspire. Whilst I may not have left with all the answers, I certainly left with plenty to think about. In an age where audiences are often spoon fed every detail, there was something refreshing about a production that trusted us to feel, question and interpret for ourselves. The Skriker achieved exactly that

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