The RemCo by Jonathan Maitland

In a tone of disdain, levity and humour, The RemCo explores the privileged and murky world of corporate pay, city politics and journalism.  More story with comment, than commentary with plot, The RemCo takes us on safari through the ins and outs of whether charismatic CEO Michael Melman should receive an £8 million pay award.  There’s always something salacious when eavesdropping through binoculars on the privileged, so distant from the world most of us inhabit that they are a rare, although ever more increasing frequent, sight stalking the international reserve of multi-million-pound salaries.

A RemCo, (remuneration committee), should you not know, and not knowing will not spoil your enjoyment of the play, is a supposedly neutral and unbiased committee set up to come to a fair conclusion on executives’ pay and bonuses.

The play’s central theme has of course the inflammatory quality of dusty brushwood and cleverly writer Jonathan Maitland has chosen not to set the tinder alight.  Instead, he has chosen wisely to be more subtle through the entertaining, if scant, plotting, appealing characterisation and dry intelligent humour.  Satire if you like.  Subtle satire.  This ensures the play’s greater likelihood of reaching those who are not part of the world of executive pay.  Moreover, written in this style it holds attention, educates and offers thought provoking insights that might otherwise be missed or ignored.

Mind you Maitland’s Sunday Times article of July 24 2022 Why bother satirising politicians? They’re doing a brilliant job themselves – could easily apply to the executives in The RemCo.  On a whim CEO Michael Melman has his wife’s dress flown out to New York at a cost of £20k which he charges to the company.  The lack of self-awareness and empathy is on a par with the politicians du jour and is better satirised than written about head-on as many do anyway.

The play is well structured and subplots interweave neatly with each other and the story arc.  In his research for this play Maitland had access to confidential minutes and although the play is fictional that access has undoubtedly contributed to the resonating reality in the detail which gives something of a true feel when listening.  As the committee gets to work the implications of a seemingly simple task, coming to mutual agreement about Michael Melman’s pay and conditions, fall foul of subterfuge, overt and covert influence and the machinations of (dis)loyalty.

The neutrality of RemCos is criticised through the lifestyle and privilege committee members enjoy in what are often, on a casual listen, throwaway lines.  A subtle example being the irk chairwoman, Judith Clapham feels if the overrunning meeting were to be reconvened next week -“Right I’m skiing next week so we will reconvene after that.”

Privilege and the sense of disconnect in the world executives inhabit is conveyed through subtle writing and delivery and yet the gentleness in the play makes it difficult for the listener to dislike the characters.  Expounding on an article The Times wrote about him Melman says:

Melman: “Although they did make a rather annoying mistake.”

Clapham: “Oh yes?”
Melman: “Yeah, they said I had a holiday home in Poole when it’s actually Poole Harbour.”

Through clear writing the play captures well the world of direct and subtle influence, in particular that staple of executive influence, the ‘saying of nothing whilst implying of everything’.

Although improper, in her view, Judith is persuaded, against her better judgement, to meet with Michael Melman in what may have been a collusion between the two men.  However, Melman finds Judith Clapham is not the naïve push over he might have been expecting.

Clapham: “Why have you got me here Michael?”

Melman: “Well, I thought it wouldn’t do any harm for us to meet.  See if there’s anything you need.  Any information or anything.”

Clapham: “I think we’re alright on that score but thank you for asking.”

Judith goes on to outfence Melman as he tries tactic after tatic to exercise influence over her and her committee.

Directing the zippy script, Emma Harding has got a quality performance of discipline, range and enjoyment from this star cast.  Deborah Findlay is strong as the brusque, efficient powerful business woman, Judith Clapham who is chairing the RemCo.  Stage and screen experienced Findlay, “possesses both a natural warmth and an emotional distance” (Ben Lawrence, in The Telegraph, 29 May 2018) which makes her perfectly cast as with ease her character inflects impatience with impeccable clarity, issues softly spoken stinging rebukes and exudes assuming, unquestionable privilege.  Lucy Doyle, plays her daughter and potential Achilles heel or is that golden opportunity, business journalist Camilla.  Sharp performances are put in by all cast and notable is the range of accents which enrich the play and allow easy character identification.  John Humphreys plays a pompous version of himself as the newsreader – perhaps not a lot of acting required.

Production values are strong and the supporting sound effects enhance the listening experience.  The restaurant scenes are particularly well done.  Intermittent music is upbeat and pushes the play along with a sense of tension that matches the plot neatly.

The RemCo is an entertaining play in itself and makes important points about city remuneration, the fickleness and self-serving nature of leadership and is a narrow snapshot of the life of the privileged. It is well worth a listen for pure enjoyment and with a view to enjoying the satirising of an elite wedge of society.

The RemCo (first broadcast in 2018) remains on BBC Sounds for a short while and is certain to be repeated soon.

What’s love got to do with it? by Tom Wainwright

What’s love got to do with it? is another winner out of the Wellcome Trust Experimental stories scheme.  It’s the comical story of the shenanigans of Tina and Turner who live in a near-future world where lives, especially romantic relationships, are curated by artificial intelligence.  ‘OMG dry and boring’ I hear you cry, but far from it.  This is an engaging, entertaining, laugh-a-minute canter through the unthought-through consequences of allowing our data to be harvested and used to direct our lives.

The plot of What’s love got to do with it? centres around the ability of an app called Q to harvest and crunch our data and consequently predict ways in which we can instigate and or improve our relationships, particularly our romantic relationships.  But, to Turner’s constant chagrin the app is too intrusive for him, “I don’t want to be told what to do anymore Tina.  I don’t want to go into a bar and for my watch to tell me what to drink.  And for it to be right!”

It’s not long before Turner persuades Tina to turn off the Q app.

“I hope you know what you’re doing.”

“I don’t want to know what I doing.  That’s the whole point.”

“Is it?”

“I think so.”

“Alright then Romeo.”

At the count of three the Q app is no longer part of their lives except “It’s saying if I make you delete Q there’s a 67% probability that you’ll have an affair with a guy called Rob.  At your work.”  Thus, is the first moment of their descent into life and relationships in the raw reality of being human with no app to guide you.

Both freed from the app’s accurate clinical notifications, they are adrift now.  Adrift as humans.  Humans who have had their lives led for them by an app for years.  Lost, directionless and reliant on their humanity to live their lives they must negotiate a plethora of life’s ordinariness with ever increasing disastrous consequences.  A comedic feast for the onlooking listener.  The question is, will they persist, freed from the all-intrusive app, or hook up again, to have their lives curated!

Although the feel of the play is light and entertaining with many laugh-out-loud lines and situations it is a cleverly written piece on an important theme – the “dataverse”.  That is, one of the “seismic, epoch defining revolutions” that is silently happening all around us and to which we are mostly complicit and yet oblivious as our penchant for convenience compels us to check the tick box and send ourselves and our futures to goodness knows what.  Thinking back on how this all came to be, the Welsh narrator tells us, “People found that they were more interested in convenience and safety than they were in abstract notions of privacy.  Give me your data, I’ll make your life nice and comfortable.  It was a win-win situation.  Sort of.”

The narrator, Welsh actress, Gwyneth Keyworth, has the perfect accent, pitch and tone and her part achieves that perfect, yet rare, balance between intrusion and distance from the play’s action.  Regular readers of this column know I am far from being a fan of narrators in audio drama but in What’s love got to do with it? the all-knowing narrator’s rapport with the listener is conspiratorial, juicy almost, and lures us in, with ease, as a co-eavesdropper, to the world of Tina and Turner.

Production values are high in What’s love got to do with it? with sound separation (stereo) of particular note along with the inclusion of character reactions in the background.  These small devices, including sound effects, contribute significantly to the atmosphere of the play and go a long way to drawing the listener into the world of the characters.

Georgie Fuller plays ‘something of a bossy’ Tina, “now take me to bed or lose me for ever”, who endures much of the brunt of life without Q.  Edward Easton plays well the forlorn, exasperated romantic who wants a deeper non-AI human connection with Tina.  Their scenes are sharp and the source of much of the humour in the play.  The pair are well matched opposite each other and their sparky, sparring relationship contrasts well with the flat, in a good sense, cynical wisdom of the narrator.

The play pings along apace and praise must go to the director, Anne Isger for the depth and range the actors find and lifting the excellently written humour from the page.

Writer Tom Wainwright has risen to the challenge set by the Wellcome Trust and produced a play that takes a serious topic and explores it with humour and creativity.  The cleverness of the play’s double-entendre and punning title, the lead characters’ names and other devices reflect an intelligence in the writing and production through the play.  Undoubtedly the play will reach many who do not, and would not, without listening, think of their data being used in ways that are not in their interests.  For that alone the Wellcome Trust, sponsor of many creative endeavours on future worlds, deserves much praise.  As the Wellcome Trust put it, “We tell stories about health and human experience. Our words and pictures make connections, provoke new thinking and share lived experiences.” To my mind the subtlety of the use of story to inform, educate and entertain listeners on serious topics is as much superior, as it is different, from being lectured on the topic.  Not only that but it is of course much more enjoyable.

This reviewer is not privy to the roles of Dr Ricky Nathvani and Maxine Mackintosh in the production of the play but surmises that they are Wellcome Trust employees exercising an overview on the science, themes and goals of the stories scheme.

Will Tina and Turner be able to stand the realities of raw relationships or will they capitulate and reinstall the Q app?  The answer to that, can be had, only on listening to this excellent and entertaining play.

What’s love got to do with it? remains on BBC Sounds.

A Dog in the Fight by Hugh Costello

After Michael is made redundant and Annie has a fling with an old flame, the pair leave Dublin for a more sedate and peaceful life in the “beautiful west of Ireland … a peaceful part of the world, [where] nothing dramatic happens here, most of the time.”  But out of the blue, literally, an Orlan-10 Russian spy drone crashes into Michael’s greenhouse bringing global politics and domestic life into direct conflict in this gripping political thriller from prodigious writer Hugh Costello.

Now you might be thinking, ‘political thriller’, sure I get more than my fill of depressing politics in the news why would I want to listen to that.  The answer is that Costello’s work is first and foremost an enjoyable story that pursues the consequences of a drone crash in a garden.  What would you do, you may well ask, especially when a government clean-up team is hot on the heels of the crash.  Beyond that this creative play rewards the close listener with subplots that explore trust, neutrality, decision-making and other themes common to personal and geopolitical relationships.  As ever Anglo-Irish relations lurk and loom in Costello’s plays.

Whilst addressing serious themes the play does so with skilful and playful humour accompanied by the occasional laugh-out-loud moment.  Michael was an intense greenhouse grower of tomatoes and herbs and when the government clean- up team swoop in to tidy up the destruction from the brought down drone, mysterious official, Paula remarks “That explains why your lawn looked like a pizza topping.”

Feeling pressed into responding to what has happened Michael makes a video that goes viral, with the ‘wrong’ people in the ‘wrong’ country.  Whilst the play is far from being a farce, it is creative, entertaining and provides much comic substance.

Pressures build on the couple with Annie’s father having something of a late mid-life crisis through which he is none-the-less able to impart vital advice to her, “seek out these opportunities to know yourself better.  Don’t settle for a life of making do” he tells her.  A stranger with a metal detector turns up and turns out to be an agitator who will rile everyone he encounters.  And then there’s a song and dance with the signing of the NDA which brings scrutiny, tension and trouble.  As the pressures build, they have an impact on Michael and Annie’s relationship and require deep thought and carry the potential for significant consequences.

Characterisation is strong in the play with perhaps Paula, played by Frances Tomelty who clearly relished the role, being particularly finely written.  She is an effortless representation of the ‘assumption and swoop’ of an untrustworthy government that will, without consideration, and employing deceit, serve its own cause.  The feigned, light and off-hand wish that Annie’s new teaching job might be made permanent masks the plethora of sinister machinations of behind-the-scenes power.

The play is well structured, across a linear narrative, a Costello trademark.  The clarity of structure contributes to the pace.  The plot and dialogue move swiftly with purpose and hold the listener’s engagement firmly.  But don’t be deceived.  There are layers of depth to Costello’s plays for those that seek such rewards.  Although overtly political Costello’s plays are not preachy.  Whilst the peer into steep perspectives they don’t shove you off the cliff and yet the listener, keen on those dimensions, is not left with doubt as to where the characters, and perhaps the writer, stand in relation to current affairs.

Costello has the extraordinary talent of turning out plays of depth, quality and high entertainment value on the prevailing political zeitgeist in what seems to be a super fast turnaround.  There’s something of the fine product about his plays, akin perhaps to how a master glass blower might admire a vase he has just made.  Production companies and broadcasters must love the reliability, speed and quality with which he can write such plays, which I’m certain must come from a love of the genre.

Actors embrace his dialogue with ease and directors (in this case, Eoin O’Callaghan) find their task a breeze with a structure that explicates itself easily into the recording studio and through to the speakers in cars, kitchens and headphones on enjoyable walks.  I suspect Frances Tumelty, Simone Kirby, Jonathan Forbes, Stephen Hogan and Mark Lambert enjoyed the experience and that shines through in the performance.

Whether you enjoy A Dog in the Fight as an entertaining story about a shot down drone, a commentary on Irish neutrality or an observation on Britain’s centuries old relationship with Ireland, there is much to relish.

A Dog in the Fight remains available on BBC Sounds.

The Crossing by Hugh Costello is reviewed here – https://rb.gy/fyc83

The Third Pill By James O’Neill

The Third Pill by James O’Neill, is well-structured and well-written, straightforward comedy, along the lines of a modern-day fairy tale.

Life-loving Gregg, who works in children’s publishing, is beginning to feel the toll of his 49 years and gets an unusual opportunity to do something about it.  What plays out are the bizarre consequences of his decision to take the pills of promise.

The play opens, seemingly initially under water, with a baby cackling pleasantly and a woman singing ‘The Black Velvet Band’, the relevance of its recurrence through the play becomes apparent. The scene switches quickly to a doctor’s surgery where crestfallen Gregg learns the pain in his foot “plantar fasciitis is a middle aged problem“.  He is firmly hit with the realisation that he’s not getting any younger.  As the doctor tells him “you’re a middle aged man. Slow down.” Worse he’ll have to give up his beloved running.  At work, just to cap matters off, young upstart and uber positive and happy Gregory, is brought in to modernise and bring more appeal and relevance to children.  “The future is digital” asserts Alister. Deflated, despondent and down, “dinosaur” and “greger” Gregg finds a message on his computer that could be the answer to it all. AgeReverse promises “a three week, three pill course for three thousand pounds” that “will take years off you“.

Although pertinent themes appear gently through the play it is all the more enjoyable for being a comedy story and not trying to be a commentary.  The pace of writing is brisk and the plot development keeps everything moving forward tightly and grips the listener’s curiosity and attention.

Production values on the play are strong and of note is that opening sequence which, on first listening, seems to be set in an underwater location.  The clarity of the striking of the clock and the woman singing soon suggests that it’s not.  And yet.  If not already piqued sufficiently already the juxtaposing of the next scene, set in a doctor’s surgery, must have the listener wondering what’s going on.  All is explained across the well-structured arc of the play.

Producer and director Gary Brown assembled a strong cast to bring the play to life and I suspect a lot of fun was had by all in rehearsal and recording.  The direction is tight throughout the play and the actors deliver well pitched performances, bouncing off each other with pace and energy.  Experienced and successful actor, Reece Dinsdale, is believable as the frenetic Gregg.  Rupert Hill plays the naïve foil, Gregory, to Dinsdale’s Gregg and does so with aplomb.  Malcolm Raeburn steals his scenes as the doctor who measures cynicism, bedside manner and pushiness perfectly to be understatedly humorous – making his appearances all the more enjoyable of course.

The Third Pill does well, what audio drama does best – the suspension of belief, imaginative plotting, intimidate rapport with characters and bags of reward with each listening.  The play was first broadcast in August 2018 and remains and endures as an enjoyable story which will have you laugh out loud – more than once.

The Life Cycle of Ospreys by Jane Wainwright

For reluctant, naive Louise and committed David, life gets pulled into clear focus when they are fatefully brought together, on the Derbyshire Osprey Watch, to guard three eggs that are to hatch immanently.

Through a series of ever more significant epiphanies The Life Cycle of Ospreys, with humour and skill, tells the story of how Louise and David find profound meaning and purpose in keeping vigilance over the “first time in four hundred years” event.

Upbeat Louise deputises on an eight hour overnight watch for her mum, who is “in a psychiatric unit”.  To her co-watcher’s abhorrence she brings with her a picnic of comfort food, a disinterested attitude and little but suspicion for gilet-wearing David.  In contrast David takes his vigilance seriously, filling in the log book religiously and is stoically intolerant, but sympathetic, of Louise’s lack of commitment.  As might be anticipated each grates on the other’s nerves.

The Life Cycle of Ospreys is a well written two-hander that draws on the spiritual comparisons of the Osprey’s life and circumstances of Louise and David.  Each finds profound meaning in the Osprey’s life force and equally a respect, commitment and fondness for each other.  This is an engaging, humorous play that leads the listener gently and subtly through a broad range of emotions.

The writing engages and credit must go to the actors (Henry Goodman and Sally Messham) and director and producer (Pauline Harris).  Two-hander plays can flag but The Life Cycle of Ospreys breezes along and holds listeners’ focus effortlessly.  The contrasts in characters works well and the acting is weighted precisely.  Of particular note is the use of asides (all the more effective for being used sparingly) which of course work particularly well in radio drama.  I’ve no doubt this technique helps us to identify deeply, quickly and early in the play with each character and extends our empathy for each.  Asides serve also to lend depth of humour (in my case to laugh out loud, more than once) that might otherwise take many lines to write and run the risk of being clumsily done.

Although much more than a humorous romp, the play is nonetheless enjoyable as a straightforward comedy.  The writing is fresh, modern and carries broad appeal.  Although not supposed to humanise the chicks Louise, who falls asleep on watch, insists on calling them Khloe, Kim and Kourtney.  Relating their task to her own life she tells us “David stares at the monitor like it’s Game of Thrones”.  Not only are references to Kardashians and celebrated TV current and effective but serve also to bring younger audiences into the fold of radio drama, too often seen as staid, stuffy and irrelevantly boring.

Set in a nature watch hut one might expect a feeling of claustrophobia but not so.  The play is perhaps somewhat surprisingly broad in feel and tone and yet remains tightly focused.  This is in no small part due to the pace and no doubt the conviction the characters have for their task – in spite of beginning as anything but commitment for Louise.  But we never doubt her likeability and the astute listener will sense from the outset her ebullient vibrancy to be a defence.

The pairing of Henry Goodman and Sally Messham is well chosen.  There is undoubtedly a chemistry between the two that has served to enhance a super working relationship that brings this play to pointed focus.

Recording and production values throughout the play are strong and lure the listener in with ease.

The Life Cycle of Ospreys is a delightful play, layered with meaning that appeals to a broad spectrum of listeners and contains insight for all.

Dangerous Visions: Welcome to Medpatch by Kevin Core

In Welcome to Medpatch by Kevin Core we learn that in the future “We’re done with doctors.  Health care’s an app now.”  Artificial Intelligence (AI) has taken over and algorithms assess people’s medical well-being and drones deliver medication.  Finding herself surplus to requirements, Jenna, a GP, gets a job as a call handler at Medpatch where her boyfriend works in IT.  “Welcome to Medpatch.  As a new employee we want you to feel our history.  At the start of the twenty-first century the human genome was comprehensively mapped.  We had become data.”

Jenna’s conscience doesn’t fit in with Medpatach’s ethics which “… always works.  People go wrong.”  As Jenna probes the propriety of Medpatch (literally a patch that can assess people’s health and is assessed by call handlers) she finds herself in a fast and thrilling underworld where boyfriend, Luke, is chief suspect in what might be a conspiracy.

Jenna – Are any of these guys medically trained?

Luke –  Absolutely not.  The app operates off a quantum AI generating real time genetically tailored solutions for five billion customers.  It doesn’t need a nerd with a stethoscope asking does it hurt when I do this?”

Welcome to Medpatch is an atmospheric and prophetic thriller set in the world of healthcare, technology, accountability and what care actually is.  Everything is rated – the cab ride in which you can opt out of conversation with the robot driver in only the premium package – especially significantly Jenna’s calls and interactions with the patients.  The patients know their power and clout and are quick to issue complaints which result in severe sanctions on call handlers.  After a call with Lauren Berkley Jenna is told “Well done Jenna.  Call quality evaluation is 72%.  But remember full salary today is dependent on ten calls achieving an 80% call quality rating.”  Jenna later received a reprimand and “Two days downgraded to 70% of your probationary wage.”

It’s “Adapt or die.” Jake tells us in this harsh future world where statistics and system are more vital than patients.  “We can’t let a tiny tiny fraction of cases derail the entire system.” says Luke.

The soundscape in Welcome to Medpatch is broad, immersive, atmospheric and yet conveys the ‘close’ sense of corruption and threat.  The listener is carried into the world of espionage with excitement, colour and ambiance.  Never intrusive, the music and effects assist and support the dialogue with senses of urgency and futuristic dread and doom.  Production values are high and the sound is punchy and excellent.  Although not necessary the play, like most, does benefit from listening through headphones.

Welcome to Medpatch works as a straightforward thriller and is steeped in foreboding themes.  AI is already significantly involved in our health and welfare and Welcome to Medpatch examines one of the possible conclusions that might happen as a result of algorithms driving care.  It is perhaps too much to call the play a sci-fi but there are elements of science fiction both in the plot and style, perhaps mostly with the excellent soundscape. The foreboding is entertaining and any warning is a gentle illustration rather than a political demonstration or outright objection or opposal.  For that lightness of touch the play works well as an illustrative entertainment.  A strength in my view.

The play is not diminished for being more plot than character driven.  Listeners identify early on with Jenna, played by Ophelia Lovibond, and responses are appropriate to the not overly villainous baddies in the play.  Enmity is reserved mostly for Medpatch (voiced by Meera Syal) and the people behind it.  The run time is 44 minutes and for once I felt the play could have worked and might have benefitted from being longer.  Nonetheless I accept perhaps the tighter restriction adds to the sense of tension, purpose and dilemma the characters face. Essentially the shorter run time is of benefit to the plot and listener.  Of course the shorter form serves better the putting on of headphones, heading out for a walk and getting lost in a good story and possible future.  Having said that the ending to the play is abrupt and I wonder were there editorial restrictions that required a longer drama to be cut down.  Should that be the case the squeezed together ending leaves room for a sequel.  That would not be an altogether bad idea especially if producers and directors could assemble the same cast.

The acting, production and direction are spot on as is the writing with the possible (imposed?) caveat outlined above.  The actors carry a sense of urgency and foreboding, matching the themes and drawing the listener into the gravity and consequences of medical care by machine.  The direction is strong and tightly written dialogue keeps the plot moving at speed.  With such a strong and experienced cast one expects little else.

Welcome to Medpatch is an excellent trek through a possible future that involves all of us. It examines how a doctor with a conscience, in spite of being told “You’re not a medical professional.  You’re a call handler” might react to the impersonal machine care that is driven by targets and cold calculating statistics. Overall an excellent listen.

This review was written at the time of first broadcast 10 Feb 2021, published elsewhere and is reposted here.

Two Household by Claire McGowan

It sounded too good to be true that centuries of hatred and suspicion would at last be laid to rest when Catholic Niamh and Protestant Michael fall in love and plan their wedding for “the twelfth”.  The initial euphoria of peace, prosperity and a future collapses when the “two households both alike in dignity” collide with catastrophic consequences for everyone in this gripping, written for radio, thriller by prolific writer Claire McGowan.  Will hope and history rhyme and love save the day or, as with most things in Northern Ireland, will the past flex its muscle on the present?

Two Households works on many levels.  As a straightforward thriller and one could claim mystery, it moves swiftly being strongly plot, character and, perhaps oddly, driven by past events, tradition and history.  As a reflection of Northern Irish politics and life the play doesn’t miss much and does not shy away from facts and naming people.  It hits the nail on the head.  McGowan has taken time to do her research in detail and ensure there is historical accuracy to the events of the play.  Do you need to be from Northern Ireland to understand the play?  No.  But it helps to get that fuller more subtle insight into the nuances of the play and daily life.

Assuredly written, the dialogue is sparkling and pings along swiftly.  Barely a word fails to contribute significantly to plot, theme and character.  So much happens, the interplay so real and the tension so gripping that I barely noticed how forcefully I was carried along.  The language and style are authentic and the play is peppered with humour and literary references.  At a point Michael refers to their relationship as “Love across the barricades”,  a reference to Joan Lingard’s seminal Kevin and Sadie series of novels, which receives the retort “love across the septic tank” from Niamh.

Myriad themes drive each character and their interplay is well woven.  Loss, a painful, ever present theme in Northern Ireland, is central to the play.  Loss from a generation ago still holds prisoners.   So it is with Northern Ireland and what we euphemistically call “the troubles”.  Incidents from generations ago, reverberate continuously, and occasionally rise with catastrophic results in the present.  Living with consequences of previous actions is something of a prevalent theme in a cluster of recent radio, TV and theatre – see Bloodlands, currently being shown on BBC1.

A strong cast was assembled for Two Households and all give excellent performances.  Stellar talent, Dermot Crowley, one of the most versatile, understated and superb actors of the day, plays Sean with panache and assurance.  Direction is effective and keeps the tension taut and brings the play to a crescendo and ensures the plot twists are a surprise.

All in all Two Households is an entertaining play and a super listen.

Amy Molloy can be seen in Series two of Bloodlands now on BBC 1 and BBC iPlayer

Shearwaters by Alison White

The play opens with a tense standoff in the kitchen. Ruth has a knife and fends off an intruder.  With a sudden cut to narrator monologue Ruth tells us, “Twelve hours earlier I thought I lived in the perfect hiding place, except for the nightmares.”  Shearwaters is the story of Eve, now Ruth, who, three years ago, escaped to a remote island where she set up life with Wilf and daughter Lily.

The truth will out.  Will it?  Who knows in this tense psychological thriller (with its share of action)?

The play is atmospheric, evoking strong images of nature and island life.  Puffins, guillemots and of course Shearwaters all make their presence felt audibly.  Credit to the sound design work of Steve Brooke and the use of field recordings made on Skomer Island.  The appearance of a helicopter towards the end of the play serves to satisfy those of us who share that bizarre audio craving.

It’s worth noting that the play is recorded in 3D binaural audio, a technique that makes the listening experience more immersive.  To experience 3D audio you will need to use earphones and be prepared to jump! There is guide to 3D audio below.

Aside from flashbacks, all necessary for plot, which moves apace, and character development, the play is straightforward and well written.  The contrast in characters, particularly Wilf and Seth, is well drawn and manages to be subtle and demonstrative rather than a lecture.  The tone of threat and pursuit is set from the beginning and intensifies as the play progresses.

Subplot is too strong but there are certainly close parallels with what’s happening in Ruth’s life and that which is happening with the wildlife on the island, particularly the Shearwaters, thus, of course, the play’s title.  Imagery and symbolism, guillemots turning their backs to life to protect their young for example, are well written, subtle and effective devices that add to the visual nature of the play.

In an artistic and approachable way Shearwaters explores tough themes, including domestic abuse and captures well the terror that haunts victims.  Radio drama has a way of bringing listeners into close proximity with themes and, especially through the use of inner monologue, Shearwaters helps us identify palpably with Ruth.  The acting is confident and assured and supported with strong clear direction.  Lilly’s laugh is infectious.

Perhaps too swiftly the dénouement, with a neat plot twist, ties up the plot and character arcs and tangents across the play.  The established tension at the beginning of the play is increased steadily throughout with a series of happenings even though it is summarily, but satisfactorily, closed off at the end.

Well crafted, well written and addressing tough issues, Shearwaters is a strong and important play, well worth the listen.  A second listen will reward the listener with deeper insights into all aspects of the drama and will offer further understanding of the characters and their motives.  Production values are high and enhance the play and the listening experience – remember headphones are essential to benefit from the 3D audio.

Shearwaters makes for an enjoyable and awareness raising listen at any time but with the autumnal weather changing now is the time to enjoy it best.

Learn more about 3D Binaural Audio here – https://www.immortalmics.com/what-is-3d-binaural-audio/  https://www.makeuseof.com/3d-audio-surround-sound/

Knock of the Ban-Sithe by Kenny Boyle

Knock of the Ban-Sithe is set on the Isle of Lewis, writer Kenny Boyle’s home, and with Halloween just round the corner what better time to listen to a spooky story than now as the nights close in and darkness enhances sounds.

The lilting monologue that opens the play (the voice of Kirstin, played by Helen Mackay) sets an ominous scene with the family fearful that the ban-sithe might return. Perhaps with good reason as Kirstin tell us “Because when we were young one came to our door.”  It was the night her grandfather died and Peggi, their somewhat psychic and prophetic mother, warns “she’s going to take him up to heaven … but we mustn’t open the door to her … we must never invite her in for she might take more than she’s here for.”

Their rough n tumble, love-hate rearing sets the siblings off on different courses in young adult life but when their mother falls ill they return and await the knock … but “people don’t knock on Lewis, people don’t just come around unexpectedly when it’s dark and no one, no one would ever pop over to a house where someone was about to die”.

The play is sprinkled with recurring gallic phrases which serve to enhance the atmosphere and contribute to the sense of isolation and remoteness.  Too often when another language is incorporated in plays it is done clunkily but Boyle’s skilful mastery of the technique fires the imagination with windswept terror and beauty.  The actors’ accents are supremely seductive and the lilting perfect.  They carry that sense of woe and despair that manages somehow also to beholden romanticism and brings out the saviour in the listener.

Across the play we learn that the rough n tumble of sibling life became more serious with consequences leading to individual struggles away from and back to the island.  Through the guise of a ghost story the play is a tender observation of a family’s regrouping, in spite of differences and real issues, to be together at the time of the death of a parent.  Particularly original is the scene in which we learn, through a flock of sheep and a dish, just how much love there is in this tight knit family.

The play is well constructed and fits snugly into the 44 minute run time which is just about right for this drama.  Tension builds across the play and early foreshadowing is well written and serves to create a growing sense of tension.  Titan, Callum’s dog, is taken for a walk and vanishes into the sea only to appear instantly at his master’s side.  An event he and his sister are happy to dismiss. As tensions rise, like the brewing storm, and become more fractious between the siblings there’s a power cut all of which add to the eerie sense as we await the inevitable.  “Don’t let your sister answer the door.  Don’t let her in.” cries Peggi.

The direction and acting are decisive and effective.  The dialogue is natural and the actors ping off each other with pitch perfect sharpness.  The natural and clearly ‘at ease’ interplay between the actors, creates, with precision, a measured and balanced tone throughout the play.  Of note, and mentioned above, are the accents which serve to lend a sense of the remote and portentous possibilities.  Poetic, lilting and filled with worry, and not to diminish the others, Helen McKay’s voice stands out.  (She claims a worthy Northern Irish accent – I’d like to hear that)  Mairi Morrison is a native of Lewis and a Gaelic speaker.

Knock of the Ban-Sithe is a straightforward modern spooky story that appeals on all levels.  Well written, with strong acting and lots of atmosphere, it makes for a snuggled up listen on an autumnal night.

A Close Approximation of You by Oliver Emanuel

After meeting at a student party, photography, mirrors and theoretical physics bring depth, meaning and a loving future to Kay and Michael’s relationship.  Their life together establishes itself as happy and successful.  Domestic bliss and romanticism are illustrated through Michael’s habit of leaving notes on the bathroom mirror which become readable only after Kay has a shower.  A neat device that demonstrates their love and becomes significant to the plot.

Michael, a theoretical physicist holds a strong conviction that a mirror world, a mirrorverse, exists and consequently he is obsessed with mirrors.  Photographer Kay specialises in taking photographs of reflections.  On a happy visit to the hall of mirrors in Versailles Kay suspects she is being followed.  On assignment, photographing reflections in ice floes, Kay receives a call that changes their lives – Michael has been in a car accident.

The play’s sound design and soundstage are minimalist yet effective and add positively to the listening experience.  Music is used judiciously and effects such as breaking glass at the mortuary pull the listener in.

The play’s pacing is uneven and would benefit from having 44 rather than 60 minutes of run time.  This would have tightened up some of the unnecessary monologue, dialogue and meandering scenes.  Part way through the play is resurrected somewhat with the introduction of John and Jess and more could, and ought to have been made of their comic potential.

Radio plays excel in letting the listener into the world of characters but there is too much use of the limited narrator, who becomes, too often, a too intrusive commentator.  Sharper verbal interplay with the characters would have raised the dramatic tension and thriller dimension of the play.  This is effortlessly achieved at moments in the play and in much of the prolific writer’s other works. There is possibly a sound argument that they play could be hyped as a sci-fi – well at a push and with some tweaks.

Plotting is fine but, again, would benefit from a shorter run time.  There are some clever devices such as the writing on the mirror, found after the accident, and these link well with character and plot across the arc of the story.  The mirror writing seems a bit twee until it becomes an important plot accelerator later in the play. The finding of the phone is atmospheric and tense but again stands out somewhat against the unevenness of the pacing of the play.

Although perhaps somewhat predictable the dénouement is well done and brings to a close all threads, well, except for leaving a certain doubt about Kay.

The actors put in journeyman performances.  The Spanish detective, played by Itxaso Moreno, stands out as the unexpectedness of the accent strikes a discord.  The partnership between writer, Oliver Emanuel and director, Kirsty Williams, is long established and has been successful and publicly recognised with Sony, BBC and Tinniswood awards to their name.  Whist I doubt A Close Approximation of You will win awards in this world it is not for me to say what will happen in the mirrorverse.

All in all A Close Approximation of You is an enjoyable listen.  Perfect for darkening autumnal evenings.

Anneika Rose is currently appearing in Crossfire on BBC1