Review: WRECKAGE, Turbine Theatre

Any one of us could die at any time, with no warning and no reason behind it. This is the heartbreaking truth we grapple with in Tom Ratcliffe's Wreckage, now running at the Turbine Theatre. Fresh from a successful run at the Edinburgh Fringe, the short play follows Sam (Ratcliffe) through the aftermath of the sudden loss of his partner Noel (Michael Walters). We see the impact the relationship continues to have on the rest of his life in a moving exploration of love and loss.

The death of Noel isn't a spoiler - in the very first scene of the show, '20 minutes before' is projected onto the set as we watch the lead-up to his car accident. The rest of the narrative is constructed by Sam's memories of their time together, from their happiest moments - their first kiss by the Thames, Noel proposing - to their very worst arguments. These memories are integrated into Sam's life after the accident, illustrating how their relationship continues to evolve even after death. Noel remains onstage for most of this, speaking to Sam as a kind of ghost or voice in his head.

Ratcliffe's writing is at its strongest in the lighter parts of the play, spotlighting Sam and Noel's love story. The writer paints a witty, accurate portrait of modern gay life, with a fun dynamic between the central couple and some moments of delicious specifcity that make us feel part of their relationship. Ratcliffe is definitely a writer to watch.

Where Wreckage falters, however, is in its moments of intense grief. Too often, the play falls into melodrama, especially in an episode where Walters as Noel is in hysterics on the floor for what feels like at least ten minutes. It's very uncomfortable to watch, which feels deliberate, but doesn't have its desired effect. Unfortunately, there's a little too much telling over showing: the story is sad enough as is, and more subtle illustrations of grief would have been more poignant than crying and shouting.

The direction and design, both by Rikki Beadle-Blair, often mask the honesty of the script. The set consists of a slide show of projected images, from a submerged car to the Christ the Redeemer statue and the streets of London. There are also vines strung around the space, which bring a nice touch to the theatre but don't add much to the story. It's a shame - while the set is functional, the projections cheapen the production and make it feel somewhat amateur. This all leads to a lack of cohesion, with the firework marketing graphics at odds with the leafy theatre space. A more considered, creative set choice could have added another layer of depth to the script - a missed opportunity. In many ways, it feels like the show has stuck to its EdFringe roots, rather than evolving into a more developed production.

The latter half of the play is also confused by Walters playing both Noel and Sam's new partner Christian. There is almost no difference between the characterisation of the two roles, making several scenes that should have been meaningful just a bit puzzling.

Ratcliffe gives a lively, easy to watch performance as Sam, while Walters as Noel brings a booming voice and strong stage presence which sometimes works but other times feels out of place. Much like the script, both excel more in the play's lighter, more comedic scenes, with the moments of conflict and grief feeling less believable. This is interesting given that one of the key themes of the piece is what and how we are allowed to grieve: after his death, Sam discovers a secret Noel kept that makes him question everything, and this provides some of the writing's most intriguing moments.

Wreckage's final couple of minutes are undeniably excellent, bringing together details from the rest of the play and tackling grief head-on in a way that's really genuinely moving. With clever use of video footage and Bon Iver, it takes a very simple idea and executes it well, making it hard not to well up.

But this sums up Wreckage - what should have been a show that leaves you sobbing, in its current iteration, only leaves you tearing up. There's a lot of potential here, some gorgeous moments and some sharp writing, but the melodrama and production leave us wanting more. Regardless, it remains a very watchable, moving piece, and it's great to see a show about a gay couple that isn't just about their sexuality.

Wreckage runs at the Turbine Theatre until 22nd January

Photo Credit: Marshall Stay

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