Vincent River has a story to tell. His life has a story and his death has a story. His brutal murder at the hands and weapons of a hate mob pass the story of Vincent into the hands of his mother Anita and his secret lover, Davey. Prime Cut productions at the Cube in Project Arts Centre present a scene where one’s true self and one’s self recognition is forever held to ransom by the judging eyes and ears of neighbours, of family and of fear.
Vincent is absent throughout the play but lives on through the stories of his life that are teased out via a cocktail of alcohol and drugs from the grieving Anita and Davey. We view the story as it unfolds in the dank and grimy East-end London flat recently inhabited by Anita (Eleanor Methven) the mother of Vincent River. The flat, with its exposed rafters and wooden-frame walls invoke a vision of a through-section cut into the domestic life and memories of Vincent, Anita and Davey (Kerr Logan). This access into the private domestic sphere allow the audience the feeling of being the society and neighbours constantly watching and gossiping on the hidden love affairs of Vincent.
Methven is incredibly natural in her portrayal of the heartbroken and withered mother, worn down by a life of menial factory work, no husband and the threats to her son owing to his ‘precarious’ lifestyle. In fact this lack of a male role model for Vincent is pondered by Anita for her son enjoying male relationships. “He would have felt safe maybe”. The naturalness of Methven is at times at odds with Logan’s character, Davey. His accent wanders from Hackney to Merseyside at inopportune moments and is distracting but his delivery of an anxious, confused and utterly lost teenager is compelling.
Sarah Jane Shiel’s astute lighting, especially on the exterior street provides the only indication of passing time as the street lights glow in the passing night, allied with Philip Stewart’s tingling soundtrack creates a tense and enclosed environment.
Sophie Motley’s direction is well driven and structured with perhaps just the middle section lacking the emotive power of the opening and concluding sections, which incidentally contain the most imagery of the last moments of Vincent’s life, ensuring it is the absent titular character that has the most powerful story to tell. The graphic portrayal of the murder of Vincent, in a toilet cubicle of a disused railway station emphasises the isolation and extreme lenghts these men were going to in order to hide their relationship. The homophobic mob, identified only by their malice; “the one who cut, the one who kicked, the one who punched”, end Vincent’s story before it truly began.
If author Philip Ridley and director Sophie Motley sought to solely examine hate crimes, one wonders is there perhaps more that could be teased out of this work, perhaps learning more about Vincent than just his death and awkward childhood. Prime Cut productions have made an at times gripping and engrossing production that tells Vincent’s story when as so often the case, the victims of street violence are silenced forever.
Vincent River is at Project Arts Centre until 21 August 2010. www.projectartscentre.ie
Touring to: The Alley Theatre, Strabane, 26 August 2010. www.alley-theatre.com
The Market Place Theatre, Armagh, 27 August 2010. www.marketplacearmagh.com
The Playhouse Theatre, Derry, 28 August 2010. www.derryplayhouse.co.uk