Review: SPIRAL, Jermyn Street Theatre

“How do people cope in the worst imaginable situation?” This is what writer, and lead actress, Abigail Hood sets out to examine in Spiral, now at the Jermyn Street Theatre after a run at the Park Theatre. It sounds like a compelling premise for a play. A complex study of why and how we save each other to, ultimately, save ourselves. Unfortunately, Spiral is not this desired complex examination as its stereotypical and brazen writing never allows it to flourish.

Tom (Jasper Jacob) and Gill’s (Rebecca Crahnkshaw) daughter, Sophie, has been missing for six months and the couple is unable to deal with the emotional turmoil it creates - so they fall apart. In Tom’s desperation, he hires an escort, Leah (Abigail Hood), who pretends to be a schoolgirl. As Tom hopes this will help him miss his daughter less, his actions become increasingly desperate and attack his already failing marriage.

Leah has her fair share of troubles too. She’s navigating an abusive relationship with her ‘manager’ and boyfriend, Mark (Kevin Tomlinson, who directs too). The couples’ lives intersect and there’s a pregnancy, a school suspension, break-ups, physical abuse, and the overarching issue - a lost child. It’s a lot. In fact, it’s too much. While these are themes that deserve a platform, Hood’s writing is not strong enough to effectively explore them.

Her attempt is several short scenes pasted together, with a sound design that is distracting and trivial, that end the minute they begin to hint at something meaningful. There’s a severe lack of impactful development here both in plot and character. We are given no time to invest in the narrative or those who inhabit it as shocking issues are sprung at us from the get-go. Just as they begin to delve deeper - as Gill begs, for example, “Let’s not be those people”- the lights dim and we’re onto the next scene. It feels like a tacky sketch.

The light in this tunnel is Rebecca Crankshaw as Gill. She’s given the best writing and her portrayal is the only glimmer of an emotional connection needed. She manages to find nuance in the text, and we truly believe her each time her heart breaks a little more. The rest of this cast tries their best, but they simply aren’t given enough to work with to truly connect with the script or the audience.

Lucy Napier's design sets their efforts on boxes and a stage covered in newspaper articles relating to the subject matter; its simplicity is effective in conveying the many themes of the piece.

I wish I could find more positive things to say, as I commend Hood on championing these topics in her work. However, Spiral appears clumsy as there’s a necessary sensitivity and nuance needed when grappling with such topics, which it fails to possess. In the stronger moments, such as Tom and Leah’s wondrous conversation about the saltiness of chips – the potential is obvious in Hood’s writing.  So, just as Spiral’s characters do, I hold out hope for something truly great.

Spiral is at the Jermyn Street Theatre until 19 August

Photo Credit: Ben Wilkin

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