Machinal
In a wedge shaped set, bright yellow as bile, a machine does its work. In Richard Jones’s staggering revival of Sophie Treadwell’s 1928 expressionist classic, our first glimpse of Rosie Sheehy’s Young Woman is the sight of her freaking out in a press of black-clad ’20s New Yorkers, her blue patterned dress frumpy next to their sharp, dark angles. The story cuts to her office. To the strains of what sounds like a demonic metronome, her colleagues gossip about her, repetitive gibberish underscored by their bafflement that the Young Woman is late – why would anyone would want to miss any of this? Sheehy arrives and she’s not a timid wallflower, but earthy, speaking with a mile-wide Brooklyn accent. She lives with her elderly Irish mother, who is later delighted when her daughter reveals she has had a marriage proposal from her boring, unattractive, much older boss (Tim Frances). Her mum says she should marry him; an upset Young Woman screams like a wild animal; she marries him anyway. Jones’s production is a sort of infernal anxiety machine, percussive and remorseless, each hallucinatory scene immaculately crafted with its own distinct mood. Although the tone of the story changes repeatedly, catharsis is banned here. Hyemi Shin’s retina-searing set is unforgettable, Benjamin Grant’s sound design skin-crawling unnerving, Adam Silverman’s lighting exquisitely unsettling, Sarah Fahie’s movement ravishingly creepy. Jones’s production is an infernal anxiety machine As much install