John Hollingworth, Adam Hugill, Matt Sutton and Matthew Durkan in Reykjavik. Credit Mark Douet.First off, it’s important to note that Britain (and indeed Scandinavia) has a long tradition of dark and sardonic humour, as well as ghostly story telling, particularly among the topographical extremes experienced by woodsmen and fisherfolk. It is perhaps therefore, no surprise that much of the dialogue in Bean’s latest offering gives way to mystical tales of spirits and blatant superstition, but not without considerable humour and humanity thrown into the mix.
We find ourselves in the Hull offices of trawler owner Donald Claxton (John Hollingsworth) whose boat Graham Greene has recently gone under off the coast of Iceland. After checking-in with other vessels in the fleet, he discusses with his father William (Paul Hickey) the protocols around The Walk in which the boat owner visits every widowed household to pay his respects, drink the tea which will undoubtedly be offered, and deliver the drowned fisherman’s last pay packet. It is a time-honoured tradition in which the respected but hated bosses are made to feel the guilt of their office as capitalist providers of jobs, while everyone simultaneously acknowledges the cruel vagaries of the weather out at sea.
After an interlude denigrating and then dismissing one underperforming trawler captain, an unhappy wife and mother demands her right to an audience. Enter Lizzie (Laura Elsworthy) all front and hostility, who confesses to having dark thoughts towards her unpleasant husband who is one of the reported survivors now holed-up in Reykjavik awaiting transport back to Hull. After tears and a few whiskies in Claxton ’s company, their chemistry takes an unexpected and potentially optimistic turn. Her departure is followed by the arrival of the new leftie parish vicar Wallace Polkinghorne (Matthew Durkan) who, having been thrown in at the deep end, seeks guidance regarding the memorial service for those lost in the tragedy, but is not averse to offering some advice of his own, including that Claxton should perhaps consider travelling to Iceland to personally supervise the return of the survivors, which neatly sets-up Act II.
After the interval, aside from Claxton who arrives in the foyer of Reykjavik’s Hotel Spuggi, most of the cast members assume different roles which demonstrate a breadth of ability with characterisation and give multiple opportunities to shine as they chat into the night, drink and tell tales, creating a jovial and sometimes tense and uncomfortable atmosphere. Einhildur (Sophie Cox) is the no-nonsense young owner of the establishment who develops a rapport with naïve and engaging Snacker (Adam Hugill), and Baggie (Matt Sutton) spends most of the evening placating and refereeing the more vehement outbursts from the saltier members of the group.
Directed by Emily Burns with strong period-appropriate, atmospheric design elements from Anna Reid, Oliver Fenwick and Christopher Shutt, the play bristles with potent working class tropes and exudes respect and admiration for the harsh and capricious nature of sea fishing and the generations of families who have given their lives to the industry.
With such a fine and accomplished ensemble of talented actors, Reykjavik is most surely deserving of a West End transfer.
Runs in the main house until 23rd November.
