Premiering in London in 2003, Martin McDonagh’s multi award-winning play The Pillowman is a part-parable, part-portmanteau, politically charged, bleak comedy. Set in a totalitarian state, it tells the story of Katurian (a role progressively gender-swopped for this production, played by Amy Wilson), an aspiring writer of modern Grimm-esque fairy tales, who is being interrogated by police after it transpires that her dark short stories have now had real world similarities.
Seeing the performance on the opening night, it could be argued that this production struggled to determine itself as a comedy. This is, however, through no undoing by the cast or the director; The Pillowman is a taut and uncharacteristic offering that goes to extreme effort to be taken seriously, in order to convey its strong thematic complexities. Laughs may have been shortcoming, but certainly grew throughout the evening, as the audience and possibly, the cast, settled into the ‘status quo’ – that such weighty issues as police brutality, non-PC dialogue and even accounts of child abuse could be told through the lens of dark comedy.
It’s a thought-provoking story, complicated by Katurian’s brother Michal (Josh Wainwright). Michal is a mentally disabled character – a year older than Katurian – who respects and, tragically, looks up to his sister for moral guidance but, more so, moral approval. Wainwright’s sensitive, compelling performance of this complex character constantly confounds our expectations, in a nuanced portrayal that stands out in an interrogation room full of stellar performances.
Delivering not only ever other line but also impressive swathes of well-crafted storytelling, is Amy Wilson. The lynchpin of the play, it’s Wilson’s ability to drive the story (and stories) that both affect and explain her shifting predicament, and catalysts some otherwise unthinkable, provocative decisions.
If there is such a thing as ‘light relief’ in this sometimes uncomfortable but totally gripping play, then it is via the characters of Tuploski (Molly Charnley) and Ariel (Stewart Dodds). It’s a ‘good cop/bad cop’ set-up, charming yet brutal and visceral. Charnley, in particular, delivers expert comic timing and, together with Dodds, provides an imposing, naturalistic premise. However, this is a play where not everyone is all good, and neither is everyone all bad...this constant pendulum of what makes an action justifiable, or forgivable, or even lawful, is the backbone of the piece.
The play even carries a slight but indiscreet ‘meta’ vibe at times; all part of the theatricality of the script, and also Stephen Labourne's superb direction; videos depicting differing styles of animation assist in telling the twisted fables recounted by Katurian, and the set, nondescript and unimposing, pushes the dialogue and the character's choices, to the fore.
This is not always the easiest of watches and the plot points discussed may leave a bitter taste in some people’s mouths, however, The Pillowman is a brave and bold piece of theatre, and it’s all excellently executed. The Pillowman is being performed at Caxton Theatre, 18th - 25th January 2025. Please click on the link below for more information and to buy tickets.
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