Review: IVORIES, Old Red Lion Theatre

It’s a truth universally acknowledged that bisexuals are often underserved when it comes to theatre and media. Poltergeist thriller Ivories valiantly sweeps in at the close of Pride Month, but it over-promises and under-delivers. Beyond the messy and exceedingly protracted set-up, lies a great story that will delight all queer fans of the genre. After all, an eerie old house, a dying grandmother, and a bunch of secrets bound for the grave are the bones of any good spooky summer horror.

The Tennessee Williams idolising, horror fanatic who was described as “the Stephen King of playwrights” Sloane (Riley Elton McCarthy) is writing a new drama while tending to their nan when their husband Gwyn (Matthias Hardarson) shows up with his best friend Beckham (Daniel Neil Ash). This seems to be the key to unlocking the meaning, but the meta-theatrical jabs grow old and end up never truly having anything to do with the resolution of the story. It adds, however, fodder to Sloane’s strained relationship with medicated and confused Gwyn while Beckham destabilises the balance further. 

The issue at the core is that there’s one too many lulls, especially at the start, leading us to think that the entirety of the expositional act could be condensed. The second and third parts bring in the fun. Flickering lightbulbs (Skylar Turnbull-Hurd), creaking floors, tricks of light, a solid soundscape (Adam Lenson), everything works once it gets into gear, and playwright Riley Elton McCarthy is done padding the play with excessive quirky banter and redundantly reiterated social issues. The informational dump in this lengthy introduction is fatiguing, with plot points and cultural clichés sticking out too much from the natural progression of the dialogue.

This said, there’s plenty to love. The symbolism is there, as is the disturbed horror of a house that hides supernatural powers. Directed by Georgie Rankcom, all the resentment and repression of a couple facing problems results in their being overly jumpy and careful even before we find out what the real ghost is, while Beckham’s presence adds fuel to the fire. The interludes between scenes build the atmosphere, but the actual scene changes are fairly uninspired long blackouts.

The piece works when McCarthy relies on the unsaid, sneaking in a delicious dose of religious and generational trauma, in addition to horrific violence and homophobia. The shades of grief they offer are varied in their multitudes. Ultimately, we see what the production is trying to do. It might not be perfect, but the potential is enormous. Streamline the first narrative act and you have a show with unmatched Ethel Cain vibes.

Ivories runs at the Old Red Lion Theatre until 26 July.

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