★★★★✰
Set against the backdrop of the troubles in Ireland, Under the Black Rock spotlights the fragility of relationships during a time of great tension. When Niamh Ryan (Evanna Lynch) is enlisted as a new recruit to the IRA, she must navigate a series of increasingly complex moral dilemmas which test her commitment to the cause. Her eventual transition into a callous operative requires myriad sacrifices.
Despite the fact Harry Potter’s Evanna Lynch gets top billing as Niamh Ryan, this really is an ensemble piece with no weak links. Flawless performances are offered up by all, but Matthew Blaney is certainly a standout as the calculating Jimmy Lynch. A toe-curling torture scene he shares with Glen Wallace is truly electric, though goes on perhaps a touch longer than it needs to. Flora Montgomery is remarkable, transitioning seamlessly between playing grieving mother Sandra to IRA head-honcho Bridgit. That said, her multi-roling becomes a source of confusion and could have done with a little more clarity from the offset.
Tim Edge handles a sensitive period of history deftly in his script: though the troubles serve as part of the plot, it actually focuses more on the mystery of the informer and the subsequent personal fallout than pushing any political narratives. Darker scenes are also peppered with well-timed moments of comedy, which lighten the tension and prevent it from becoming oppressive. Under the Black Rock is a piece with so many moving parts and double dealings, and all the while, the futility of it is hammered home by the allegorical black rock looming from above (literally and figuratively).
Without a doubt, one of Under the Black Rock’s greatest strengths lies in its lighting and sound design. It is a visually stunning piece: Joseph Ed Thomas’ lighting states create delicious tension, from the oppressive darkness allowing the cast to slip ominously into the shadows, to startling brightness which intentionally stuns the audience. In combination with Ben Kavanagh’s impressive sound design and direction, the technical elements soar to bring Ceci Calf’s cold and metallic set to life beautifully. Additionally, the unusual space provided by the Arcola – a converted paint-shop-turned-studio space – suits this intimate piece perfectly.
On the whole, Under the Black Rock does a magnificent job of navigating some very sensitive issues. It is engaging throughout, with only a couple of pacing issues and moments which could have benefitted from a little more clarity.
Under the Black Rock is running at the Arcola Theatre until 25 March. You can book your tickets here.
Words by Kate Padley
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