Some fantastic writing that addresses both our obsession with true crime docs, podcasts and mental health, but it’s currently let down by its presentation. Rating
Good!
When a woman (Anna Coupe) turns up at Bridget’s (Beca Barton) door one Saturday night claiming to be Shona, her older sister, it opens up 21 years of turmoil. Because that is how long it’s been since Shona vanished without a trace at just 14 years of age.
The twists and turns that follow this opening revelation make Alice Flynn’s Little Sister a superb mystery thriller as Bridget, joined by middle sister Sally (an outstanding and multi-layered Mimi Millmore) try to piece together just who this woman actually is. Could she really be their missing sister, and if so, why does she still believe she is only 14, and just where has she been all this time? Or is she one of the many obsessives fascinated by Shona’s mysterious disappearance, a story that has become the subject of countless true crime shows, podcasts and documentaries? Or is she something entirely different, as we are given hints of Irish folklore about changelings and other strange beings? For most of the time, it really is a brilliantly crafted story. But it would benefit from a dramaturg to iron out small plotting missteps and cut some of the unnecessary filler that takes us away from this core.
But right now, a great script is let down by a host of production issues that seriously distract. Firstly, sound. The tiny space of The Glitch, with its low ceiling, does not need the background sound effects pumped out at anything other than, well, background volume. This is heightened by performing in the round, so when actors have their backs to you, their lack of projection makes them difficult to hear. Conversely, at other times, shouted voices become too loud and shrill. Better voice coaching all round would help greatly.
Liam Rees’ directorial decisions also need some rethinking. Actors sitting on floors or amongst the audience for prolonged periods of time can be all rather frustrating as audiences are forced to twist and turn and sway in an effort to see. Even with seating just two deep, those in the back row really struggle to see much at times. And just to round off a list of annoyances, if you are going to refer to a photo on the wall, why not put a damn photo on said wall rather than keep pointing at a blank space? If you can push to an electric knife as a prop, you can surely go wild and get an actual photo!
But moans over, let’s once again return to some brilliant writing that means this is still well worth a visit to what is a wonderful basement theatre just behind Waterloo. The central concept of Little Sister is that truth falls victim to our obsession with true crime stories; sometimes reality really isn’t as interesting or exciting as people want it to be. Flynn makes great use of that idea, twisting the truth with conspiracies that have built up around Shona’s disappearance until it’s hard to know quite what might be real or not. It’s Millmore’s Sally that benefits the most from this, as the truth of her character slowly leaks out. Little Sister is a wonderful piece of writing that is currently let down by too many production issues. But if these can be addressed and Flynn focuses her script even more on the mystery elements, then this really could become an essential watch for any lover of a good thriller.
Written by Alice Flynn
Directed by Liam Rees
Produced by Iona Bremner
Little Sister plays at The Glitch Sunday 1 March
