★★★★✰
Written by Lulu Raczka and directed by Robyn Winfield-Smith, GREY MAN follows Maya, whose older sister has a penchant for telling scary stories. Her favourite is about a woman who has the ability to turn people grey and one of her victims, a man who was formerly a decorator, still lives in their town.
It soon becomes apparent that the stories she tells are a metaphor for mental illness. She claims that the woman has gotten her, and she can only leave the house for short periods of time or she will turn grey. Eventually, she moves out of the bedroom she shares with Maya and into the cupboard, leaving Maya to listen to her stories through the walls. Her condition worsens, and Maya is left to watch as she loses her job, her friends, and is groomed by an older man.
Two versions of the same character retell the story: one who is haunted by the tales (Kristin Hutchinson), and one who uses them to heal (Kate O’Flynn). They each have their own room, which have an identical layout but very different atmospheres: O’Flynn’s is cold, and almost clinical, while Hutchinson’s is warm, yet barren. The concept is a promising one, but it doesn’t quite reach its full potential. Apart from the setting, there is little to suggest that the actresses are both portraying the same character, which can make the plot feel a little fragmented.
Yet both actresses do a tremendous job of telling the spooky stories. O’Flynn has a piercing gaze that feels like she is staring straight into your soul, while Kristin Hutchinson brings a fragility to her narrative, creating the impression she could break at any moment. Their performances are underpinned by the perfect soundtrack, composed by Max Pappenheim and designed by James Barrett. At points there is no music. But then it starts softly, gradually building to a crescendo that sends shivers down your spine. Alongside the lighting, which subtly casts shadows over the women’s faces as the tension builds, the performance is truly eerie.
Liminal Stage’s experiment has certainly paid off, and the combination of stage and screen is a powerful one. With a little more tweaking, the messages that the performance presents will become even more powerful.
GREY MAN is available to stream on demand until 17 December.
Words by Ellen Leslie
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