An enjoyable comedic thriller packed with action, supernatural happenings, and witty jokes that is both unsettling and hilarious. Rating
Good!
Strange happenings, folklore, and a not-so-dead murderer set the foundations for The Grim. An unlikely cohesion between comedy and thriller, the production takes audiences on a wild ride.
The Grim starts off strong. Dealing with dead bodies is no glamorous trade, but undertakers Robert (Louis Davison) and Shaun (Edmund Morris) bring humour to a morbid endeavour. As they prep the body of alleged murderer John Gallagher for his coffin, the dialogue between the two is littered with witty, hilarious jokes through a comedic back-and-forth. Actor-writer Edmund Morris’ jokes, for the most part, land very well, eliciting giggles from the audience throughout.
Sinister tones slowly creep in through Robert’s reciting of the folklore of the ‘grim’, guiding us towards a more unnerving narrative that begins to unravel. When Shaun storms out following an argument over sweets, things turn strange and towards sinister supernatural elements. The clever use of lighting and sound by Joe Hawkins adds to this eerie atmosphere, with dimming lights and an unsettling soundtrack used appropriately to add both tension and unease, whilst foreshadowing the strange happenings soon to unfold.
Just before the end of the first act, John Gallagher storms the stage, resurrected from the dead with an enraged temper and a terrifying demeanour. It is a great casting choice; Harry Carter’s muscled aggression fares well against the slender builds of Davison and Morris, solidifying the physical power imbalance between them. As the tension mounts, there is a lot of banging, shouting and physical violence that echoes the walls of the small playhouse.
It is interesting how the writing questions culpability, power, and trust, unraveling John’s story to give his character a softer edge while revealing the truth of his alleged crimes. It adds an unexpected reframing that teeters between sympathy and fear channeled through the undertakers’ apprehensive handling of the bizarre situation they find themselves in.
However, it is unusual for a show that is only an hour long to have an intermission halfway through, and it does the play no favours. I anticipated it was for a set change, but no, instead, it just broke up the play’s fast-paced anticipation for no apparent reason. After the break, The Grim never fully regains its stamina, becoming more confused as it continues. Whilst comedic elements are more minimally maintained, the tense thriller continues to rise with lots of action, rising tempers, and more truths unveiled. Too many questions are left unanswered by the play’s abrupt ending, though. You’re left with a desire for the storyline to be fleshed out a little more.
Whilst on the whole an enjoyable production, some more clarity and refining of the second act would improve the play greatly. The Grim is still hilarious and unsettling, mind you. It doesn’t take itself too seriously and offers an exhilarating tale that left me smiling throughout.
Directed by Ben Woodhall
Written by Edmund Morris
Stage Management & Lighting Design by Joe Hawkings
Sound Design by Fergus Carver
Costume & Props by Hiba Medina
Set & Props by Ali Day
The Grim plays at Southwark Playhouse, Borough until Tuesday 6th December.
