Review: SCARLET SUNDAY, Omnibus Theatre

Art mimics life, or so we are always led to believe. In the case of James Alston’s Scarlet Sunday, the life behind the art is perhaps both difficult to see and blindingly obvious. Alston’s play, which is currently being performed at the Omnibus Theatre, provides an insight into the life of renowned artist Ray Blackwood following his death. 

We meet Ava Blackwood, the artist’s daughter, and Yasmin, an art curator and blogger, in a coffee shop where the latter is trying to unravel the late artist’s secrets. The play takes place in two settings; the cafe and the Blackwood family home, and intriguingly feels as though it is one continuous scene; a single conversation moving towards a climax. Through the course of the discussion, we learn about Ray Blackwood’s past and his relationship with his two daughters, the play being as much about their story as his.

As Yasmin, Sorcha Kennedy’s performance was energetic and, in places, hilarious; balancing the role of journalist trying to win trust and excited obsessive, trying to reach her goal. The character is very well realised, both by writer and actor. Likewise, Camilla Aiko’s Ava is excellently performed; the character’s awkwardness and distress being well conveyed. Throughout the two interact with a skillful chemistry, which is often portrayed through the sense of disjointed intentions and physical dislocation between the characters. 

The black box of the Omnibus Theatre has been transformed into an artist’s studio, arrayed with canvases, easels and supplies in a chaotic and naturalistic way. This space truly comes into its own with the lighting choices, designer Catja Hamilton utilising the canvases in an unique imitation of windows silhouetted with tree branches. Hamilton also adds drama to certain scenes with some powerful red lighting at poignant moments, to echo the play’s title. Working alongside Hamilton, Odinn Orn Hllmarsson’s sound design and composition provides atmosphere throughout, helping to increase and instigate tension. 

The use of traverse staging allows the audience to feel immersed within the story and the setting, being handled well by both designers and actors. Director Imy Wyatt Corner has clearly considered the benefits of this unusual seating arrangement and has successfully used the space to the best of its capabilities, however, through the use of diagonals there were very few points where the sight lines appear compromised. However, the play is not contained to the traditional performance space, seeping beyond. 

Overall, there is a sense that the climax could have been slightly stronger; more hard hitting and fulfilling its full potential to make the audience jump. While there is not necessarily a need for the audience to gain a thoroughly detailed understanding of a father-daughter relationship in a seventy minute play, there was the sense that in places there could have been a little more detail. The audience is aware of the direction the story is going in, so making the unburdening of information a little more punchy could have been beneficial. 

This is a story about trust and art and the difference between perception and reality. As a play, it is both funny and serious, balancing these two differing moods with a competency that draws you into the story. It is both a piece of art in itself and a performance which explores the poignancy of art and criticism.

Scarlet Sunday runs at the Omnibus Theatre until 17 March

Photo Credits: Alex Brenner

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