‘This family! On the surface it’s all pretty waterlilies. But underneath…there are sharks!’
Philip Ridley’s play, The Poltergeist is instantly relatable to me as an LGBTQ uncle of my siblings’ children (whom I lovingly call my niblings). In the monologue we are introduced to Sasha who is decides to got to the birthday party of his nibling along with his partner. The way Joseph Potter single-handedly displays human emotion in this layered piece is fascinating. The writing lifts off the page, and the energy with which we see the character explode made me feel restless (more so than the character Potter plays so convincingly) often exacting comedic moments as well as those with the rage and fury (we notice the terrors and childhood expectations that we as Queer people will have felt).
The set is simple (which really works to its advantage in this given it is Potter’s sublime ability to showcase various characters), and we – the audience members – are captivated by Sasha’s world in such a vibrant and evocative manner. The story is remarkable to those residing in inner-cities suburbs like myself, for it showcases the apparent mental health issues – and often pent up issues of city life and the stresses that come with that. I really enjoyed the way that was conveyed, most realistically but also magnified with extreme intensity at points.
As someone who missed this initially as it was closed due to COVID-19, I also somehow missed this when it was digitised during lockdown (Southwark Playhouse). I’d recommend this for it truly is a masterclass in acting, and I look forward to what Joseph Potter does in the future as a Rising Star of his generation; similarly, I welcome more pieces that display queerness and mental health in a brutally directed piece, yet are also searingly honest in a way which the theatre can shy away from.
Until 29 October 2022
🎟️Tickets :https://www.arcolatheatre.com/whats-on/the-poltergeist/