Review: A MONSTER CALLS, Rose Theatre

Patrick Ness' novel A Monster Calls is a sharp and poignant look at loss in childhood and how death is approached by adults and children. First seen at the Bristol Old Vic in 2018, Sally Cookson's heart-breaking stage production tries to make sense of illness and grief and how lying to children about death can be more damaging than telling the truth.

Conor and his mother are getting on without his father, but life is becoming increasingly difficult due to his mother's illness. Conor resents his strict grandmother arriving to take a more dominant role and he is also struggling with being bullied at school.

The adults in his life are not telling Conor the truth. A monster living inside an ancient tree begins to visit him at night, offering to telling him three stories, so Conor himself can tell a fourth story where he can reveal the truth. These stories of human fallibility and inconsistency prompt outbursts of deep rage and emotion as Conor edges closer to confronting the devasting reality of his situation.

The decision to portray the Monster by an actor, rather than a puppet or projection is very effective. Keith Gilmore's hugely physical performance, combined with an intricate use of multiple ropes and projections makes the Monster strikingly theatrical and vivid. Gilmore has a huge stage presence and his booming Scottish accent is incredibly expressive.

Anthony Aje poignantly captures both the vulnerability and teenage angst of Conor. His love for his mother is very touching, but he also shows raw torment as he run through a gamut of emotions; from grief to anger to guilt.

Bridgette Amofah is powerfully optimistic as Conor's mother, showing a fierce love for her son, but also hints of anger at her situation. Anita Reynolds is clipped as the disciplinarian grandmother and Greg Bernstein is horribly sneering and aloof as a sadistic school bully, Harry.

The strong ensemble remains on stage throughout, taking on a huge variety of roles; from princes to school teachers. They move together to lean into the action as important things are discussed and turn their backs to show Conor's feelings of rejection. It is a very slick performance.

Michael Vale's dazzlingly white set is uncluttered and austere, relying on minimal props of chairs and a multitude of ropes to portray the tree, but also items such as a car steering wheel. Conor and his mental struggles are the focus, with Dick Straker's eye-catching projections helping to portray the nightmare inside Conor's head.

Benji Bower's emotive score is based on strings and electronica and subtly shows the emotional tumult on stage. There is also some very accomplished singing from both Brigette Amofah and Eleanor Kane.

As you would expect from director Sally Cookson, the production is intensely creative and physically and visually impressive. Crucially, it never dips into melodrama or sentimentality. The onslaught of darkness feels relentless at times, with no moments of levity to break the intense sadness. It is an emotionally draining experience to watch, but this is also an affecting and important story of heartache and confusion, as human mortality is starkly revealed to a child.

A Monster Calls is at the Rose Theatre until 9 April

Photo Credit: Manuel Harlan

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