Only the Men

Is it possible to criticise a play for achieving its goal too well?

With Only the Men, writer Tim Nunn and director Katherine Morley paint a vivid picture of melancholy life in the Scottish Highlands. Motifs of isolation, a lack of identity, and inherited grief are clearly illustrated. And yet these issues sadly keep the audience from fully engaging with the characters.

There are wonderful moments of compassion and humour which never get the attention they deserve. Hopelessness permeates every corner, and heavy-handed symbolism constantly reminds us that happiness is impossible.

The text is rich in thematic detail - about the painful memories we carry along, and the question of family versus personal responsibility - but it is overshadowed by the ambiguous monologues each character uses to tell their story. What results is a play where the audience is forced to think more than feel. When characters do finally interact, the acting truly comes into its own and the moments can be absolutely spellbinding.

Reeling & Writhing should be applauded for the ambition of this new project. Perhaps the most unique performer is the Flautist (Katie Punter) who uses music to both narrate and reinforce the storytelling. She grows to become an important character in her own right; her performance cannot be written off simply as incidental music, since it is a crucial to the emotion of the play.

Only the Men is a daring new piece of work which succeeds in creating the experience of its story. The production may leave you feeling distant, but it is by no means a failure.