“Chicken or beef?”
It’s not too many shows that begin with giving out a safe word, a code to shout out in case things get uncomfortable but if the repeated blackouts of Cut get too much for you, there is a way out. We’re welcomed into the world of Duncan Graham’s solo psychological thriller by a woman with the perma-smile of a flight attendant for that is what she is and once all the safety advice has been dispensed, we’re taken full-force into the darkness of her story.
A male passenger is stalking her, eerily omnipresent in the confined space of the aircraft. He reappears later on a train and then again, once she’s at home. Or does he? The fractured nature of Graham’s narrative, as cannily delivered by Hannah Norris, folds in and back on itself with startling regularity – actual technical wizardry from lighting designer Sam Hopkins allows ingenious varied shifts and Russell Goldsmith’s soundscape is suitably tense as it tightens the mood. Continue reading “Review: Cut, The Vaults”