Enchantment awaits as we see Greek mythology inspire yet more effective theatre – as A Song For Ella Grey takes to the York Theatre Royal stage this week.
Based on David Almond’s 2014 hauntingly poetic novel, his writing is plunged into an even more modern world by playwright Zoe Cooper and her deep desire to bring this unique tale to life.
A Song For Ella Grey is at York Theatre Royal from Tuesday 20 to Saturday 24 February.
In this story, we are graced with five passionate young adults, loving fiercely and grieving ferociously as they share Almond’s interpretation of the classic Orpheus and Eurydice myth. It’s a welcome reminder of just how heavy the tide of life feels when you’re a teenager, at times an unbearable weight where the importance of friendship can help you weather even the most terrifying of storms.
Place is important in any production or for any individual, somewhere for roots to grow and safety to be sought, and there was no doubt we as an audience instantly found our belonging in this show. Set along the familiar Northumberland coastline, the jagged cliff tops and grassy verges where so much of the action took place, we were ready to take our own sleeping bags and backpacks and join the gang on their unpredictable adventure.
Upon arrival the set may appear simplistic, however through the transcendent soundscape and cold lighting we were transported. The staging, with podiums resembling floating clouds, was used tactically as it turned black in the interval as a poignant reminder of what had been lost and the grief that hung in the air as we headed into a darker second act.
The cast were a delight to watch as they played with Cooper’s words perfectly, bringing humour to an overall intense retelling. Whilst Ella Grey (Grace Long) may be the title role, she was the most absent leaving a mysterious air to her character. It was up to Olivia Onyehara as the dominant Claire to lead the storytelling, alongside Jonathan Iceton (Jay), Beth Crame (Angeline) and Amonik Melaco (Sam) – who gave masterful examples of multi-rolling.
I particularly enjoyed Crame’s quick transition from character to character, each differing so vividly form the previous, using only her phenomenal facial expressions and extensive collection of accents to command her transformations. They are an impressive cast and leave the future of theatre in very safe hands.
The storytelling and music commanded the show, but this was more than simple narration. It was a tool used to conjure up emotions and give the audience a window into each character’s soul; a clever way of securing and bonding the friendships and relationships at the centre of the play. The music was a wonderful addition and highlighted the cast’s beautiful voices, which gently washed over us like the tide itself. I could only have wished for more opportunities to hear these earthly choruses, a moment of still in an otherwise chaos-driven plot.
Whilst the show brought great depth of imagination and mystery as it commenced, act two felt somewhat underdeveloped and lost the beautiful storytelling that carried the first act so successfully. The phrase ‘don’t look back’ will be engraved into the minds of many fans of this ancient tale, yet lacked significance in the performance itself, the pivotal moment passing by without much weight to it.
This production is not one to be missed if you are looking for an eccentric play which utilises music and lighting perfectly. Don’t miss out on an unpredictable journey to the Northumberland Coast this week – you’ll find yourself wading through fantastic actors, heartbreaking narration and mesmerising music.
A Song For Ella Grey is at York Theatre Royal until Saturday 24 February. Tickets start from £15 and are available via the York Theatre Royal website.