Review: Machinal (The Old Vic)

Review by Daz Gale

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This year is shaping up to be another great one for The Old Vic with their first production Just For One Day announcing plans for a forthcoming West End transfer and their next production The Constituent generating interest thanks to its cast. Before that though, there is a rare break from their in-house productions as Machinal transfers following an acclaimed run in Bath. Would it have the same response in London or would the cogs in the machine not work as well this time around?

Machinal was written in 1928 by journalist Sophie Treadwell in response to May Ruth Brown’s murder trial which ultimately saw her executed. Premiering in the same year the trial took place, Treadwell wrote the play as a response in an attempt to reclaim Ruth’s story, focusing on the character’s struggles and what ultimately pushed her to breaking point. Machinal frames this with different headings focusing on various aspects of the young woman’s (as the character is listed) life from her work, family and marriage.

Sophie Treadwell’s writing meticulously crafts a back story for the young woman to create a lot of depth and reasoning as to what causes her to do what proved to be the end of her. Though not apparent initially, this is a play worth investing all of your attention in as the ultimate payoff is more than worth it. The use of different sections, each furthering the narrative and bringing something new and distinctive to the affair proves an inspired touch as it allows the story to feel fully-fleshed out and one that commands your attention throughout.

Richard Jones’ direction takes the story and approaches it with a frantic energy that reflects the changeable nature of the situations unfolding and how extreme they find themselves. With the show split into different sections, with labels such as “Business”, “Honeymoon” and “Maternal”, the expert skill of the direction allows each section to feel distinct and different to the others. Whether it is loud and chaotic or quiet and intimate, the tone shifts constantly, allowing for a rapid and often uncomfortable ride fitting of the story.

Hyemi Shin’s set design may be far smaller than the grander Old Vic stage is used to, confined to the centre and boxed off around it, but it never feels small or that the theatre is too big for it. The tight and claustrophobic nature of the story works well with a yellow triangle transforming through gorgeous lighting from Adam Silverman, at one point plunging the audience into a prolonged blackout, and a simple but effective use of props. A crucial use of sound from Benjamin Grant reverberates around the auditorium, brilliantly amplifying the action on stage and bringing more intimacy, even at the back of the theatre. Sarah Fahle’s use of movement pairs with Richard Jones’ direction to create ever-changing and distinctive approaches with the main character’s extreme and at times unnatural way of moving so precise in its delivery.

The cast are led by Rosie Sheehy, listed as “Young Woman” in the programme. In a demanding and varied performance, Sheehy has a lot to deal with straight away, barking and repeating dialogue rather than flowing conversations for a large part of her time on stage. While this may not have been carried with sensitivity or convincingly in other hands, Sheehy has a fine understanding of her characterisation and this is apparent in her performance. Controlling the changing dynamic depending on who she interacts with, she gives a masterclass performance that captivates consistently.

The remaining actors take on a variety of roles in the show, all shining in their own right but never taking away from Sheehy’s dominating characterisation. Buffy Davis is a standout as Mother, while Tim Frances is a brilliant contrast to Sheehy as Husband, ensuring their scenes together are as killer as you would hope. Another highlight among the cast is Steven Beard in his versatile roles as a Doctor, Judge and Priest among others. Machinal is a show, however, where all the cast come together to form one cohesive unit – all forming essential cogs in a machine, ensuring it works as it should and to maximum impact.

Machinal is a riveting watch. Though it is uncomfortable at times and initially a bit jarring to get into, its ever-changing dynamic and unusual direction creates a show that is distinctly different from anything else out there at the moment. It is Sheehy’s exceptional performance that elevates the material further, leaving a show and story that stays with you long after you leave the theatre. With every production element flawlessly tying together to create a seamless blend and singular voice, this really is one well-oiled-machine.

Machinal plays at The Old Vic until 1st June. Tickets from www.oldvictheatre.com 

Photos by Manuel Harlan