Last week I had the pleasure of watching Leeds University Union’s Theatre Group (TG) performance of ‘The Winterling’. Set in an old farmhouse in barren Dartmoor, the play unfolds the dark secrets of the character West’s past by mirroring his previous acquaintances, Wally and Patsy, with his acquaintances in Dartmoor, Draycott and Lue.
The darkly intimate and compelling performances from cast members could not have been possible without the creative direction of Max Fry. The directorial choices undeniably generated the tension required to develop the story and heightened my own assumptions regarding the plot. For instance, initially I believed ‘West’ (played by Harry Hercock) to be suffering from schizophrenia and that he was culpable for the murder of Wally (Samuel Rushton), West’s ex-friend. This was only heightened by Hercock’s acting choices, snapping from overtly friendly with a joyous smile and higher pitched voice technique to an ominous, slow-spoken stranger juxtaposed against Dillon Dowson’s characterisation of ‘Patsy’ as a fun, loveable and charismatic sidekick with an inability to read a hostile room.
Furthermore, the excellent pacing during Butterworth’s allegory of ‘Patsy’ and ‘West’s’ disagreement at the end of Act 1, conducted by Rushton, Dowson and Herwock, (despite being fast, all actors still spoke with perfect diction and projection) foreshadowed the dramatic reveal that both Patsy and West had been told to murder one another for their rightful (re)entry into Wally’s gang. Having no lines and being excluded from the main action made Rushton’s subtle acting throughout this scene even more impressive and served to elaborate on the intentions of his character.
The second act opens in the past, showcasing the events following West’s initial exile to Dartmoor and his introduction to Draycott and Lue. Lilly Dougherty’s portrayal of Draycott was fantastic; her consistent high energy and physical characterisation allowed her to command the stage in every scene she was in, bringing comedic relief to a relatively dark play. Viewers will be left anticipating Dougherty’s next performances. Meanwhile, Lizzy Cartwright’s portrayal of Lue brought an aspect of innocence to the play, serving as a perfect contrast to the murderous intentions of the male counterparts in Act One. Cartwright’s choices as Lue, longing for help from West’s character, added depth beyond his ominous presence that we witnessed in Act One, inducing an element of empathy between him and the audience. Overall, all cast members involved gave a stellar performance.
The layout of Pyramid Theatre allowed Fry and Verdi-Ashton, alongside their producers, Sally Phillips, Victoria Norman and Disha Ragasumum, to expand on the world of ‘The Winterling’ due to the thrust stage layout and the stage entrances amongst the audience members. The understated set by Florence Bigglestone and Charlotte Aldred worked perfectly in reflecting the derelict isolation of Dartmoor, while the costuming, including the fake blood used for ‘Patsy’s’ nosebleed, worked perfectly. Kudos to the production team for making a succinct aesthetic!
The production team’s work was only enhanced by the efforts of the technical effects team, for example by precisely timing the soundbites of doors opening alongside the planes whirring overhead – it truly immersed the audience into the world of the play.
As a first-time audience member of a TG performance, I was extremely impressed and enjoyed the play thoroughly. I hope the rest of the run went smoothly and I can’t wait to see what all the actors and production team members do next!
Written by: Anna Duffell
Edited by: Joanna MacInnes