Review: DEAR MARTIN, Arcola Theatre

The intimate Studio A at Dalston's Arcola Theatre provides the perfect backdrop for Dear Martin a psychological drama exploring mental health, manipulation and reversed gender dynamics. The converted textile factory, with its exposed brick walls and wooden floors, creates an atmospheric setting that complements the play's intense themes.

Alex Mugnaioni delivers a compelling performance as Martin, a narcissistic inmate confined to a high-security mental health facility. When he skilfully recovered from a momentary lapse in lines with humorous improvisation, it only enhanced his portrayal of the manipulative character. Ben Simpson convincingly portrays Dave, a man whose wife Lucy has been receiving erotic letters from Martin. The growing tension between the two men forms the backbone of the narrative.

Amelia Donkor deserves particular praise for her versatility, seamlessly transitioning between multiple roles including a psychiatrist, fellow bus passenger CeeCee, prostitute Ava, and a security guard. Her ability to distinguish each character helps the audience follow the complex narrative. Edward Judge similarly handles dual roles as  Ben and Tom, appearing both as a fellow inmate and as a writer, respectively, interested in documenting Martin's story.

The play subverts traditional gender roles, particularly evident when Dave visits Martin at the facility. The scene where Donkor's security guard conducts an intrusive physical search of Dave mirrors the inappropriate treatment often experienced by women. This role reversal continues as Dave confronts Martin about the letters to his wife, rather than the more conventional scenario of a wife confronting her husband's mistress.

Kit Hinchcliff's minimalist all-white set effectively represents the clinical environment, while Lucia Sánchez Roldan's lighting brilliantly reflects Martin's shifting moods – stark white during his manipulative moments, flashing red during outbursts, and blackouts signifying despair. Julian Starr's soundtrack, though sparingly used, occasionally feels more suited to a screen production.

The dialogue between Martin and his psychiatrist highlights society's tendency to label and stigmatise mental illness. Martin's repeated phrase "Words are a tool not a vessel" serves as a chilling reminder of his calculated manipulation of Dave, even as the two develop what appears to be a genuine connection.

While the play tackles serious themes of mental health, its use of comedy to explore these issues occasionally feels uncomfortable, particularly when juxtaposed with Martin's accurately portrayed narcissism and violent tendencies. The stereotypical portrayal of CeeCee and Tom as bizarrely upbeat mental health patients somewhat undermines the play's apparent ambition to meaningfully address mental health stigma.

Despite these concerns, Dear Martin delivers an entertaining and thought-provoking evening, particularly worth experiencing in the distinctive atmosphere of the Arcola Theatre.

Dear Martin is at the Arcola Theatre until 29 March

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