Sitting during the interval, I idly began googling the creative team behind Reverberation when I felt a tap on the shoulder. “That’s my website!” exclaimed Jack Sain, the director, from the row behind me—a delightful surprise to my quiet curiosity. It’s not every day that your interval research gets such a personal touch.
Making its European debut, Reverberation is a powerful and poignant work by Matthew López, delving into modern issues such as PTSD-induced agoraphobia, the complexities of loneliness, and the shifting terrain of the modern dating world. The play opens with a bumpy Grindr hook-up, where we meet Jonathan, whose apparent discomfort during his encounter with Wes seems like simple awkwardness. However, López’s masterful storytelling soon reveals deeper layers beneath this surface. The plot takes unpredictable yet natural turns, unfolding with perfect pacing, and leads to an ending that is as thought-provoking as it is ambiguous. The final twist lingers, inviting post-theatre discussions that could stretch well into the night.
The set design is integral to the storytelling, portraying Jonathan’s cramped downstairs flat filled with books, boxes, and vinyl records. As the play progresses, the space is gradually stripped to a minimalist shell, mirroring Jonathan’s emotional journey. The symbolic use of stairs throughout is a subtle but striking touch. Particularly impressive is the use of mesh for the walls and doors, allowing glimpses beyond Jonathan’s four claustrophobic walls, creating a clever interplay between his sheltered life and the outside world. The mesh becomes more than just a design choice, offering opportunities to flood the stage with light and shadow, as well as providing a haunting canvas for Jonathan’s nightmares and flashbacks.
The performances are equally compelling. Michael Ahomka-Lindsay brings a raw vulnerability to Jonathan, making his journey from isolation to tentative connection deeply moving. Eleanor Tomlinson is electric as Claire, Jonathan’s frantic yet warm-hearted upstairs neighbour, her chemistry with Ahomka-Lindsay a crucial anchor throughout the play. Jack Gibson, as Wes, the Grindr hook-up, bookends the production with levity and charm, injecting moments of humour and lightness into the heavier, more introspective scenes. The trio work seamlessly together, each character bringing out different shades of the others, creating a dynamic that keeps the audience captivated.
Every element of this production, from Sain’s sensitive direction to the intricate set design, the sharp writing, and the standout performances, comes together harmoniously. Reverberation is a deeply affecting piece of theatre, and I sincerely hope this won’t be the last time we see of it. It's a production that deserves a long and well-deserved life on the stage.
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