PROGRESS Theatre has begun 2024 in earnest with a new production of Mike Bartlett’s Albion.
The play follows the death of James, a soldier who lost his life in battle abroad, and how the people in his life react to his absence.
Overbearing mum Audrey struggles to come to terms with the loss while trying to balance her own emotions as well as the feelings of her daughter and her son’s partner.
She moves with her family from the bustle of London to a rural manor replete with extensive gardens, where the play takes place, in an effort to restore the past.
Audrey is uptight and prickly, hardened by the loss of her son, a burden borne well throughout Shilpa Freedman’s debut appearance at Progress.
She juxtaposes the performance of Peter Cook, who portrays Audrey’s long-suffering, mild-mannered husband, Paul.
Cook’s diplomatic detachment is well contrasted with Freedman’s henpecking.
Jodie Wheeler’s performance as their daughter, also her debut at the theatre, shines through with a perfect mix of young-adult apathy and light-hearted humour.
She is matched by Marion Zainab Mansaray, who portrays Anna, the partner James left behind.
Initially quiet, Mansaray builds the intensity of her performance through the production until it reaches a heartbreaking crescendo filled with the pain of grief.
Ali Howarth’s Katherine, author and friend of Audrey, fizzes with likeability, bringing real pathos and depth to the character.
The chemistry between Howarth and Wheeler is also to be credited, forming the beating heart of the play, among its highlights along with Mansaray.
Drew Cleghorn also makes a considerable impact in his portrayal of James, maximising his short time on stage through haunting, silent glimpses.
The likeable and endearing cleaners are portrayed with humour and well-observed depth by Jadwiga Kiszka and Christina Hughes Nind.
The cast is rounded out by Hashim Muneer’s effete Gabriel, the richly comic Matthew (portrayed by John Turner), and the glib detachment of Andrew Hughes Nind’s Edward.
Overall, the cast imbue each character with depth and distinction which makes their convoluted relationships feel all the more entangled and invested.
The stage production is also considered, as the setting of the country garden slowly deteriorates and the lush plants slowly die away to twigs and bracken, with a handful of well-constructed devices to gild some of the play’s most poignant moments.
Overall, Progress once again has judiciously trimmed the play down to its most vital aspects and maximised the impact of those effectively.
The delicate wounds of loss felt by each character are front and centre throughout with assured performances by all.
Albion is showing at Progress Theatre, The Mount, from Monday, January 29, until Saturday, February 3.
Progress features a number of accessible show dates, including socially distanced performances.
Relaxed performances are adapted to make provisions for families with young children and people with physical or special needs.
Accessibility information and tickets are available via: progresstheatre.co.uk
