Martin McDonagh's work is rarely comfortable viewing and The Pillowman is no exception. That does not mean it does not deserve to be staged and seen by audiences however. This bible black comedy/drama will set minds racing as Stephen Labourne's production reaches the main stage at the Caxton Theatre in Grimsby. It is a taut, testing watch that will inevitably divide the audiences who come to see it, which is a shame as its merits far outweigh any criticisms that may be levelled at it. Labourne should be applauded for taking a risk after his last hit with the theatre when he produced Willy Russell's Educating Rita . The Pillowman offers a fantastic opportunity for this group of players to really stretch themselves, pushing the boundaries of what they are called upon to do in their pursuit of dramatic excellence.
For a twenty-year-old play to still be considered a risk, is a shame because this production demonstrates how a small group of actors and crew, are able to take you on a journey that will move you deeply and cause you ask questions about fact and fiction. Yes, there is an uncomfortable amount of profanity, but you become so inured it, that the offence is replaced by revulsion at some of the stories told within the play itself. Yet, for a play that carries numerous trigger warnings about themes and language, there is a deft, lightness of touch from director Labourne, who succeeds in minimising exposure to actual violence on stage, replacing it with a surreal edge inspired by Czechoslovakian animation of the 1950s - more on this later. There is a humour within this play too, a dark humour, but humour nonetheless. It is okay to experience both amusement and revulsion in a play and this production allows you to do both.
We meet an imprisoned writer named Katurian, who is being held by a government reminiscent of the former East Germany. Two guards, Tupolski and Ariel, are playing good cop/bad cop to Katurian. Not knowing the play before I went to see it, I had expectations that I might be in for a story similar to Kafka's The Trial, but it is an altogether different play. I found myself gripped by the surreal reason for the writer's incarceration. Katurian has been arrested in connection with a series of child murders that bear uncanny resemblance to the stories she writes as a survivor of historic, familial child abuse. Can a writer be held responsible if someone enacts their stories in real life? It is a very interesting premise. Katurian's brother Michal, an adult with learning difficulties, is also being held in order to coerce Katurian into either co-operating or admitting personal responsibility for the murders. The threat of torture looms heavy and her dark, disturbing stories are shared with the audience as the plot develops, evoking sympathy for Katurian - and her brother caught up in this web of horror.
As Katurian, Amy Wilson brings a lovely level of credibility as a writer who found her release from her own personal hell by writing stories that would not have been out of place in Grimm's Fairy Tales. The look of confusion, fear and frustration on Wilson's face will beg audiences to side with her as the frustration and torment tears her apart and threatens her relationship with her brother, Michal. It is no wonder that Wilson found herself crying as the show reached its climax.
As the principal investigator of the killings, Molly Charnley plays Tupolski - the "good cop" - with a degree of warmth and humour that belies her true intent and inner thoughts about the case at hand. Charnley is a winning actor who has the ability to walk the line between being funny and menacing at the same time, whilst Tupolski also appears completely out of her depth at times as the case progresses. In addition, Charnley, along with assistance from Cameron Baynes have created a series of spell-binding animations that are projected on the rear wall of the cell to illustrate Katurian's stories. The puppetry and manipulation involved in the telling of the story of the titular Pillowman is fabulous and will impress audiences. There is no singular "style" to the stories but they do remind me of the sort of random Czechoslovakian cartoons that were once shown on the BBC for children just before the news in my childhood. It is a shame that few will realise Molly Charnley is responsible for the visuals and puppetry and yet this is also an exceptionally strong string to her bow as a performer.
The "bad cop" of the pairing is Ariel, played by Stewart Dodds. A brutish bully, who enjoys torturing his prisoners too much and yet we begin to understand his motivation as the play progresses, reminding us that nobody is all good or all bad. It is a remarkably nuanced performance by Dodds who might have fallen into the trap of simply being overly aggressive, yet he brings a well-rounded character with whom it is possible to find some empathy.
Finally, Katurian's brother Michal is played with great sensitivity by Josh Wainwright. Michal is a simple, trusting soul who relies on his sister for care, protection and direction in life and adores one particular story written by his sister, that of a green pig. I won't spoil it by recounting that story but the story and the accompanying visuals are charming. Michal believes that by being open and honest, everything will be fine and fails to realise the impending doom awaiting them, if his sister cannot persuade the authorities that they had no part in the killings. This is clearly a part that takes Wainwright out of his comfort zone and he gives a fine performance as the neuro-divergent, educationally-challenged brother.
As is often the case in theatre, it is difficult to say that I enjoyed a play which has the capacity to challenge my thinking as The Pillowman does, but I have to admire and recommend it as a production that is well-written, well-cast, well-performed and well-directed. Producing plays of this nature, can only raise the standards and expectations of a society that is over 80-years-old and yet still seeking to move forward in its offer to the people of Grimsby and must be saluted for doing so.
The Pillowman runs from 18 - 25 January with performances beginning at 7:30pm. It is worth noting that as the theatre has adopted a new e-ticketing system, patrons should allow good time to be checked into the auditorium before the show begins.
Andy Evans 18 January 2025
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