Written by Michael Spencer
Directed by Lexie Ward
Presented by Highly Suspect Theatre
Combining quick-paced, raucous dialogue with a seething sense of dread, the script of this play – the first original play script from a company known for their interactive murder mysteries – is very strong. Tension is built gradually over ninety minutes, between casual comments and unexplained incidents.
Conversation topics between this small group of women who’ve been trekking up a Scottish mountain for eleven days range from orgies to exes to religion to TV to conspiracy theories to friendship. The voices of these characters ring true, as do their problems, which unfold gradually, along with the reason they’re there – to raise awareness and money for suicide prevention. Caustic and hilarious, Hayley has been hurting herself. Mouthy and shameless, Rachel is undergoing a crisis of faith. Sensible nerd Lisa finds things sliding out of her control. Adorable and fun Chloe feels the pressure of being an emotional lynch pin. Zoe, quiet and sweet, feels on the outside of everything.
The actors, who originated their roles, winning a Cumbria Fringe award for the play, embody the characters well. They feel like any of the groups of girls you might have sat around a uni pub with, hanging shit on boys and playing word association games to pass the time. It’s fun to watch, until the strange horror of the play impinges on the small, safe world of the tent.
The story is based on the real unsolved mystery of Dyatolov Pass. In 1959, a group of 9 experienced Russian hikers died in bizarre circumstances – their tent torn open from the inside, bodies found kilometers from their camp, dressed inadequately, some wearing each other’s clothes. Most died of hypothermia, others of injuries from unknown sources. It is reported that a piece of paper with the phrase “We now know that snowmen exist” was found in the remains of the tent. Some kind of similar fate awaits our characters, in present-day Scotland. We are told at the beginning of the action, and reminded at the end there are no survivors.
The play is in the round, which means here that half the casts’ backs are to you at any given moment, which made some of the dialogue hard to follow. The sparse set – a cramped space surrounded by emptiness – works well enough when all the characters are in one scene, but the actors simply stand behind the audience when they’re not performing, which can be a little distracting. Overall though, staging aside, it’s a thrilling and tight play that’s well worth your time, especially if you like women sounding like women and a mystery that leaves you questioning what you’ve seen.
Previous review: GEORGE @ Camden People’s Theatre