Theatre Review: Lyonesse, Harold Pinter Theatre - Kristin Scott Thomas is a marvel.

Lily James and Kristin Scott-Thomas in Lyonesse. Image by Manuel Harlan.

⭑⭑⭑⭑

“Who really controls the stories we tell, and how we get to tell them?” That is the question that Penelope Skinner sets out to explore in this newest outing starring Kristin Scott Thomas and Lily James. 

It tells the story of Elaine; a reclusive former actress who disappeared entirely 30 years before but is now ready to speak her truth, and Kate, the young film development executive who is sent to uncover what happened all those years ago. Along the way, she uncovers some truths about herself too, but will either woman get to own their stories?

As leading ladies go, Scott Thomas is an absolute marvel as the eccentric Elaine, pivoting with ease from sharp wit and comedy, to heartfelt and tender emotion. The stand-out moment from this show is undoubtedly the monologue she delivers that unravels the mystery that makes up the premise of the whole affair. 

James too shines as Kate, a character who feels all too relatable as she struggles to find her purpose despite achieving all the things that she was taught would make her happy. Though you can tell she is less confident on the stage than Scott Thomas, she has a nervous energy throughout that works so well for this character who doesn’t quite know where she fits or who she is, and is slightly worried at all times that everything she is doing is wrong. 

There’s wonderful support from Doon Mackichan as Kate’s boss Sue, who manages to steal every scene she is in, and Sara Powell as Elaine’s neighbour Chris feels like she brings a sense of calm to the proceedings. Slightly lacklustre was James Corrigan as Greg, though I feel he did the best he could with a rather one-dimensional character.

The creative team behind this production must be applauded - the visual eccentricity of Elaine’s house being mirrored so beautifully by the wardrobe department, the simplicity of every other set we see compared to the slight chaos of Elaine’s home, the use of soundscape to transition from scene to scene felt almost slightly immersive. These elements worked in total harmony, and outside of Scott Thomas’s performance are perhaps the biggest triumph of the production. 

Where it falls down, however, is the script. It is delightfully funny, there’s no question audiences will laugh throughout, especially in the first act which certainly feels better developed than the second. Fourth wall breaks, including a well-placed reference to critics went down well with the press night audience, and there are moments of beautiful nuance and metaphor. The house at the edge of the sea, at risk of being swept away by a power it is almost defenceless against - it is clever, poetic even. The ever-present caged birds bring to mind a favourite lyric by Jonathan Larson; Cages or wings, which do you prefer? Ask the birds, and I do wonder if this was any inspiration to Skinner when developing this idea. There are moments of real beauty in the script, but it also feels as though the piece is suffering an identity crisis. 

It is trying to be a commentary on patriarchy and the way everyone - man or woman or other - struggles and suffers within that system, however that message feels lost and it is easier to come away thinking it’s a commentary on men being the problem. It suggests that it is an exploration of movements like #MeToo but it strays from that quite early on. It starts off feeling like a mystery but the mystery is solved fairly early, so where does it go from there? And crucially, without giving the ending away, it almost undermines all it has explored throughout the piece by the end. I reached the interval thoroughly excited about the piece, but left the show wondering what ultimately was the purpose of it? 

Lyonesse is running at the Harold Pinter Theatre until December 23rd. Tickets available here.