Review: An Interrogation, Hampstead Theatre
A strong cast help in overcoming a somewhat clunky story.Summary
Rating
Good
Inspired by a real-life case, Detective Ruth Palmer (Rosie Sheehy), acting on a hunch, interrogates Cameron Andrews (Jamie Ballard). She hopes he will tell her the whereabouts of a missing woman who may still be alive. Written and directed by Jamie Armitage, An Interrogation arrives at Hampstead Theatre following a successful run in Edinburgh in 2023.
Sarah Mercade’s set is minimal: a small room with three chairs positioned around a table and a water cooler. The back wall doubles as a video screen (designed by Dan Light), displaying various camera angles from within the room, focusing on Palmer and Andrews. The programme notes highlight the strict rules around the recording of interrogations, highlighting how even a camera’s angle can subtly imply guilt. Surprisingly missing are panic buttons and other devices to ensure officer’s safety when undertaking such questioning.
Sheehy delivers a strong performance. She has drive, determination and conviction that he is the killer, even when none of her colleagues agree. She’s prepared to play this intricate dance of cat and mouse game in the hope that all her skills will eventually lead Andrews to slip up and confess.
Ballard is excellent, cool and in control, bringing a sense of smug satisfaction. He is untouchable, he has nothing to hide. A man like him isn’t a criminal after all, he’s rich and white and well connected. As Palmer’s questions start to home in and pierce his armour, Ballard skilfully shows Cameron’s withdrawal, even his silent stretches speaking volumes.
Colm Gormley, as SIO Culin – Ruth’s boss – feels somewhat superfluous. The play is bookended with scenes between him and Ruth: at the start, he advises her on how to approach the interview, suggesting she conduct it alone and without wearing her engagement ring; and at the end, after being swayed by Cameron’s account, Ruth begins to suspect that Culin may have orchestrated the entire situation. While a two-page spread in the programme titled “Women and the Police Service” hints at this theme being a focal point of the play, it ultimately feels underdeveloped as a theme.
Culin also mentions Palmer’s ‘tell’, the way she moves her thumb when she is lying. For some reason that I can’t quite fathom, the video footage of the interview moves under the table, to show the audience when she is lying to her suspect and then it flips to show the suspect fidgeting under the table. It’s such an odd choice, does the director not trust the audience to follow along? Are we not trusted to know that the story Palmer tells or the way she answers questions are not necessarily the truth but are to build rapport with Andrews, to look for that gap to find a way under his armour?
Even with the main interview being inspired by real life, the story still feels somewhat unbelievable. The stakes, and thus the tension, never quite reach boiling point. It becomes somewhat unbelievable when Palmer unquestionably feels in danger and dodges backwards but none of her watching colleagues pour into the room to assist and to restrain the suspect!
That said, the back and forth is better, here the dialogue is stronger, adapted from a real life interview. The extended silences, brimming with tension, add weight to the cat and mouse game, drawing the audience in. The concept and performances are the play’s strongest assets. Sheehy and Ballard’s performances ensure the evening is engaging, even if the play fails to fully deliver on its potential.
Written And Directed by: Jamie Armitage
Design by: Sarah Mercade
Video Design by: Dan Light
An Interrogation plays at Hampstead Theatre until 22 February. Further information and tickets can be found here