An impactful and gut-wrenching drama
Abigail Hood’s Monster explores redemption and whether it’s possible to move on after a brutal childhood, writes Barbara Buchanan.
Monster opens with 14-year Zoe (Lauren Downie) hiding in an industrial pipe on an abandoned building site in Glasgow, before she is cajoled out by her best friend Kayleigh (Abigail Hood).
Kayleigh, 15, has just torn the nose ring out of a fellow pupil who got on her nerves. Empathy, shock and a touch of voyeurism ripple across Zoe’s face as she listens to the action replay: Downie capturing perfectly the mixed emotions of an impressionable teenager with expressive eyes, pursed lips and uncomfortable blushes.
The bareness of Felix Walter’s set, with random concrete sleepers, the industrial waste and several police cones strewn around, mirrors the teenagers’ bleak future.
In a First Act filled with rage, Zoe provides the perfect foil to hard-bitten Kayleigh, who at one point races across the set, fuelled by unbridled anger, towards the men who have forced oral sex on her, spitting out graphic sexual language as a weapon of defence; the cut and thrust of the dialogue having a touch of Jacobean playwright John Webster about it.
When Kayleigh’s heavily pregnant, and well-meaning teacher, Miss Hastie (Lisa Ellis) reaches out to her you fear the worst. We get, however, a glimpse of Kayleigh’s sharp intelligence when Miss Hastie refuses an offer of a cigarette and Kayleigh quotes Milton on resisting temptation.
Ellis’ soft voice and gentle demeanour authentically portray a kind yet naïve teacher – a stark contrast to Kayleigh’s alcoholic sex-worker mother Hazel (Sarah Wadell).
As Kayleigh’s life spirals out of control, events climax when she commits the unthinkable and changes the course of her own life, Zoe’s and Miss Hastie’s. Red lights, screaming and a siren evoke the horror without us having to witness the violence.
In the Second Act, thirteen years on we see Kayleigh toasting the New Year on Brighton beach with her boyfriend John (Kevin Tomlinson).
Now known as Tracey, she has grown into a thoughtful young woman who has retained her sharp wit. John has fallen for her and quizzes her about her past. Kayleigh side-steps the questions.
Monster moves seamlessly on to Kayleigh as happily married and pregnant, yet wracked by guilt. Shortly after having her baby, she returns to Scotland for her mother’s funeral where Miss Hastie spots her and grills her in a heart-searing dialogue revealing the teacher’s pain and anger.
This is not an easy watch, but the script is skilfully crafted, allowing us to feel empathy for Kayleigh with Kevin Tomlinson’s tight direction delivering an impactful and gut-wrenching drama.
The play seems particularly apt when teenage depression and anxiety is at an all-time high.
Seven Dials Playhouse London, 1A Tower St, London, WC2H 9NP until 18th of October. Booking and full details: https://www.sevendialsplayhouse.co.uk on 020 3841 6600.
