Review: FROZEN, Greenwich Theatre

Is serial killing ever a forgivable act? A controversial question certainly and the central premise of Bryony Lavery’s Frozen. Told from three points of view, this play explores the impacts of trauma and loss on very different members of society.

Through the utilisation of direct address monologues, the audience are able to get to know the three characters before they begin to interact with each other. These three characters are the serial killer, the mother of a victim and the psychologist who seeks to understand, and in some ways justify, the actions of a murderer. 

The clever use of staging is certainly a stand out element of the performance. With a rotating stage and a good use of space, director James Haddrell’s vision was clearly conveyed. In particular, the use of a translucent partition between the two halves of the stage allowed the actors to create a sense of parallelism.

We are able to follow the progression of the two main story lines, both Kerrie Taylor’s Nancy and James Bradshaw’s Ralph experiencing their lives upon the rotating element of the stage as though a self contained experiment. Observing the psychology of this event is Agnetha, a criminal psychologist who not only performs on the non-rotating section of the stage, but also from within the audience.

Indra Ové’s performance of Agnetha opens the play powerfully, her emotional state promising the rollercoaster that is to follow. It is in these moments of emotional vulnerability that the actor is at her strongest, with the lecture based scenes falling a little short of expectations. Agnetha’s main interactions are with Ralph and through these audiences are able to truly gain an appreciation for the theory that the psychologist has been lecturing about.

Bradshaw’s performance fluctuates between understated and undeniably disturbing with a seamlessness that leaves you wondering how the character’s mood shifted so quickly. In a more domestic sphere, Taylor’s Nancy undergoes the traumatic turmoil of the overall experience, explaining to audiences how each step in the journey takes place. Taylor handles the character with skill, drawing us into her story and tugging at heartstrings. 

Taking a deep dive into the mind of a serial killer is undeniably a serious topic and this is far from a comedy, however there are moments of humour interspersed allowing momentary breaks from the intensity. By contrast, moments which draw the audience further into the turmoil include the clever use of projections. Through these projections, and the underlying white noise of cracking ice, the meaning behind the play’s title becomes clear.

This revival of the 1998 play sets out to be creatively ambitious, considering the space and the many tools that the theatre has on offer without overshadowing the performances themselves. The actors take us on a journey through one of the worst situations a family can undergo, deftly and sensitively handling the subject matter. 

Read our guest blog from Frozen's director James Haddrell here.

Frozen is at Greenwich Theatre until 19 May

Photo Credit: Danny With A Camera

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