In Their Blood: Play writing very much in Wilson’s Blood

When I was 18, the main thing I was writing were Facebook statuses that now make me vomit down myself when I’m reminded of them on a daily ‘have a look at your memories from 12 years ago‘ basis.

Orry Wilson, on the other hand, is utilising his writing ability at a level of maturity far beyond his years. ‘In Their Blood’ opens tonight (14th Aug) at the Kings Court Theatre and is the first play written by the local performer.

The story is set on the Isle of Man in the 1800s, focussing on a young miner named Aldyn (played by Wilson), who dreams of emigrating to America in search of a better life. It also delves deep into the many social and emotional challenges faced by a local mining community. Put simply. There is DRAMA. Layers and layers of drama and downright scandal. It was like watching Hollyoaks on stage. Only set in the 1800s and with much better writing, acting, lighting, and costumes.

I had the pleasure of watching the last dress rehearsal after being kindly invited by Parodos co-founder Alex Armstrong. I had seen the posters for the show around town and the mysterious marketing posts online so was already intrigued, but didn’t know what to expect. I didn’t leave disappointed.

The writing has a natural flow and the language itself an impressive iambic pentameter fluidity to it. Wilson brings a Shakespearean quality to lines that deal with mature themes, highlighting the wisdom beyond his years when putting pen to paper. There are four or five beautifully written lines that, when I heard them, gave me chef’s kiss moments. A favourite was;

‘His head is too big for the Island and heart too naïve for America.’

That line has a timeless relevance to modern locals, many of whom have had similar dreams to Aldyn. There are others I’d love to highlight but I don’t want to ruin it for you. And I’m on a wordcount.

Wilson writes his characters in a way that is representative of human nature, neither wholly good or wholly bad, making their development and the building of tension between different roles realistic and easy to empathise with. I always think it’s a sign of good writing when you can breath live into characters that in one scene the audience may find unlikeable and in another they’re sympathetic towards. By the end of Act 1, I was on the edge of my seat and genuinely annoyed when the lights went out to mark the interval at having to wait to find out what was going to happen next.

It’s not just the scandal that’s satisfying to watch, it’s Wilson’s historical accuracy that’s also a pleasure to bear witness to. Clearly, he’s done his research on the time period in which his play takes place, adding substance and gravitas to the piece.

But enough about the writing! Enter stage right, the cast.

It was a joy seeing so many familiar faces that I’ve watched in other productions. The cast is small and has a wide age range, with the younger members easily holding their own alongside the more experienced treaders of the boards. Everyone gelled in a way that was comfortable and easy to watch, giving the real sense of community that lies at the heart of the play.

Thomas Iain Dixon plays Aldyn’s dad Cian. I don’t know when Tom finds time to sleep. He is in EVERYTHING and has an unmatched quality of putting the audience at ease every time he’s on the stage. Rachel Martin takes on the difficult role of Aldyn’s mum and Cian’s wife. Her character growth is no mean feat. She has to deal with A LOT. It was great to see her gradually transition from wallflower to someone who takes ownership of her emotions. Breeshey – played by Saoirse Coyle-Carroll – has a wonderful stage presence and looks incredibly at ease under the spotlight, making it easy for her to be adaptable in the face of any surprises. I particularly enjoyed Daniel Carroll-Cawley’s portrayal of Mr Brownlow. The way he uses his hands in the role encapsulates his character’s awkward charisma. HIGH FIVE FOR GREAT HAND ACTING. Meanwhile, Sean Reaney as Magnus steals the pub scenes with his strong Manx accent and great comedic delivery of bad jokes, along with the line ‘apart from yourself, we’re all illiterate.’

Those are just a few mentions but each member of the cast brings with them a raw authenticity, that matches the atmosphere of the piece perfectly.

‘In Their Blood’ is being produced by Parodos Theatre Company – previously behind ‘The Merchant of Venice’ and ‘Macbeth’ – and directed by all-round theatre extraordinaire David Dawson – Blood Brothers, (the BRILLIANT) Chicago, and the much-anticipated upcoming Guys and Dolls.

Dawson is a steady hand when it comes to directing and has brought the perfect blend of experience to Wilson as a new playwright. He’s done a fantastic job in utilising a simple set effectively and intelligently. Dawson’s direction of the dramatic scenes (and there are many) gets the most out of the actors and their ability to tap into a full spectrum of emotions in a way that isn’t gimmicky but gritty, realistic, and raw. These fiery scenes are balanced nicely with the lighter comedic moments, the contrast of which feels natural and makes the darker aspects of the play pack more of a punch.

I’m running out of words so allow me to leave you with some personal highlights.

Highlights:

• Wonderfully haunting music during transitions – originally scored for the show and performed live – that creates a sense of ominous foreboding. You know something bad is going to happen but you’re not sure what or when. A perfect formula for edge-of-seat viewing.
• The clever use of a table, lighting, and a little jostling to so vividly represent a mine shaft.
• The gentle ‘Of Mice and Men’ vibe about the piece and gentle tip of the 1800s cap to other locally written production ‘Candles’. (Written by Chris Maybury and scored by Nicolas Roberts).
• The ending. It’s chilling and heart warming in equal measure.

It’s hard to act well to bad writing. No matter how Oscar worthy you are. (The exception being Samuel L Jackson in Snakes on a Plane). A bad script is more painful than a pick axe in the eye, something I have felt motivated to do in the past during a particularly bad show in the hope of making the minutes pass by more quickly. So, it’s a testament to Wilson that the writing pairs perfectly with all around great performances and moves at a swift pace from start to finish.

If this is what he’s producing at 18, there will be no cause for him to look back on his work 12 years from now and throw up. The sky is the limit.

In Their Blood runs at Kings Court Theatre from 14-16th August. Get your tickets here.

PHOTO CRED: Shout out to Dave at info@dkphotography for the brilliant pictures.