German Skerries, theatre review: Mystery of what lies beneath

Alice Hamilton’s production accentuates the surreal humour in Robert Holman’s writing, while also savouring its moments of dreamy escapism, says Henry Hitchings

Threatened by hazards she can’t quite see: Katie Moore captures Carol’s mix of optimism and defiant practicality

Manuel Harlan

Henry Hitchings8 March 2016

Robert Holman’s best-known play is called Making Noise Quietly, and its title sums up his restrained approach to articulating powerful feelings. German Skerries, which hasn’t been staged since its 1977 premiere, is a typically watchful piece about buried emotion and self-discovery.

Near the mouth of the River Tees, on a sticky summer afternoon, middle-aged teacher Martin meets fellow birdwatcher Jack, a young factory worker. They discuss the Skerries, a cluster of rocks where a Luftwaffe plane once crashed — the symbolism of this dangerous landmark reverberates through the play.

The other characters are Jack’s wife Carol and Martin’s friend Michael. All appear rudderless, threatened by hazards they can’t quite see.

Alice Hamilton’s production accentuates the writing’s surreal humour, while also savouring its moments of dreamy escapism. Howard Ward brings low-key gravitas to Martin, George Evans nicely suggests both Jack’s lack of confidence and his natural charm, and Katie Moore captures Carol’s mix of optimism and defiant practicality. Above all Holman’s voice is given space to breathe, and a play that could feel modestly wistful instead seems charged with mystery.

Until April 2, Orange Tree, Richmond (020 8940 3633, orangetreetheatre.co.uk)