Review: The River, Greenwich Theatre

A man takes a woman to a log cabin by a river for a weekend fishing. The Woman (Amanda Ryan) whose name we never learn, asks The Man (Paul McGann), also unnamed – to come and watch the sunset with her. Preoccupied with searching for part of his fishing kit, he ignores her offer, saying he’s seen it before and doesn’t need to see it again. When pressed, however, he delivers a poetic description of the sunset over the river, offering the first glimpse of the lyrical qualities in Jez Butterworth’s script.

When The Woman leaves the room, The Other Woman (Kerri McLean) returns in her place, picking up exactly where she left off. The conversation continues, the same wine is drunk as if this had all happened before and perhaps will happen again? James Haddrell’s direction allows the magic in Butterworth’s script to soar, blurring the line between reality and memory. We’re left uncertain whether what we’re witnessing is happening in the present or is a reflection of a memory from the past. The script’s references to reflections are echoed visually, and I’m almost certain there’s a mirror or picture frame that creates a moment of literal reflection for both The Woman and The Other Woman as they exit the room. Their interactions with The Man mirror each other in both obvious and subtle ways, deepening the sense of connection and repetition within the play.

The cast here deliver outstanding performances. McGann exudes effortless charisma, making it easy to imagine how he could have enticed women to this cabin. Beneath his charm, there’s a subtle sense of loneliness – though keen to fish, he also seeks someone to share the experience with. Ryan as The Woman and McLean as The Other Woman share palpable chemistry with McGann, creating an electric dynamic on stage but also clearly creating a distinction between the two different women. The relationships don’t need to be explained to us; they are vividly felt, unfolding naturally and with complete believability. This authenticity is crucial for the audience, especially as The Woman and The Other Woman swap places while The Man simply carries on.

Emily Bestow’s set design is beautiful. The wooden cabin feels warm, welcoming, and loved – a place where memories were created and can be warmly remembered. The river itself is cleverly represented by strands of fabric hanging around the cabin making for a striking visual. As the audience takes their seats, the serene and beautiful worn cabin stands before us, almost a statement of intent – a warm sense of love and memories. Sound from Julian Starr provides the noise of the river and other countryside sounds, light from Henry Slater beautifully lights the cabin and invokes the glorious sunrises and sunsets.

As to the story, its interpretation is left entirely to the audience. It could be a memory, The Man could possibly be haunted by ghosts, or in a repeating loop. To me, it feels as though The Man has lost someone dear and is endlessly seeking a replacement, reliving this process over and over. A newly added – by Butterworth himself – prologue and coda for this production delve even further into this ambiguity, deepening a suggestion of cyclical loss and yearning.

A folk tale of sorts, perhaps a quiet haunting, where loneliness, love, and memory intertwine. A challenging but thought-provoking evening, one that will reward and leave you with a lot to talk and think about afterwards.

Written by: Jez Butterworth

Directed by: James Haddrell

Set and Costume Design by: Emily Bestow

Lighting Design by: Henry Slater

Sound Design by: Julian Starr

The River plays at Greenwich Theatre until 27th October. Further information and tickets can be found here.

You can read more about this show in our recent interview here.