On the surface, David Lane’s Threads appears to be a standard break-up drama. Five years after she left him, Charlie (Samuel Lawrence) has finally managed to track down Vic (Katharine Davenport) and convinced her to come and visit him at their old flat. Vic’s moved on – new home, new job, new relationship – while Charlie’s struggling; he hasn’t left the flat for several years, but we’re about to discover that’s the least of his worries.
Because there’s much more to Threads than meets the eye, and Lane waits just the right amount of time for us to relax before casually taking the story in a new and decidedly unsettling direction. It turns out Charlie’s not just feeling a bit low; his life has quite literally stopped moving forward (I’ll leave it there for fear of spoilers). And Vic isn’t doing all that well herself – for all her protestations of “resolve”, the wall she’s consciously built around Charlie in her memory is crumbling before our eyes, as is the image she projects to the world of her perfect new life. At the centre of the play is the metaphor of threads that connect us to each other, and the impossibility of simply severing those cords and walking away when a relationship comes to an end.
Like the story, Jo Jones’ set takes the mundane setting of Charlie’s flat, complete with the sort of things you’d expect – armchair, kitchen, window – but adds a touch of Frankenstein-esque gothic weirdness to keep us on our toes. The dingy room gives off the vibe of a mad scientist’s workshop, and electric cables hang from the walls and ceiling and creep across the furniture, occasionally glowing with a crackling energy as the couple’s simmering, unresolved passion threatens to boil over. (I kept half expecting them to come to life and start moving on their own, but was very glad they didn’t; that way nightmares lie.)
That same energy also radiates from the actors, neither of whom seem able to keep still as they restlessly cover every inch of the space. Samuel Lawrence is jittery and anxious from the start, stammering and raising his voice in frustration at his inability to make Vic believe what he’s going through. Katharine Davenport, on the other hand, starts out cool, calm and collected – but there’s a rising tension as her defences begin to fall, and the explosion when it comes is unexpectedly fierce. The two initially appear to have little in common, yet there are shared moments of tenderness as they reflect on a memory or private joke, and it’s in these moments that we can appreciate what they once had together.
Director Pamela Schermann keeps up the intensity throughout, aided by light and sound design from Rachel Sampley and James Scriven, which are effective but not intrusive and allow our focus to remain on the human drama unfolding just inches away. The intimate Hope Theatre lends itself perfectly to this play, drawing us right inside the living room and holding us there just as it does Vic. By the end of the 70 minutes we’re left feeling exposed, and drained by the emotion of seeing laid bare an experience most of us will have gone through in some way during our lives, but may not have been able to articulate.
Threads is a highly original and unpredictable piece of theatre that grabs hold of you and doesn’t let go. It deals in metaphors without trying to be too clever, and remains a gripping human drama – whilst also providing plenty of food for thought for the train home.
Threads is at The Hope Theatre until 29th April.