2 October – 2 November
At Bristol Old Vic, Reverberation by Matthew López resonates as a sophisticated study of trauma, connection, and urban isolation. Directed by Jack Sain, this European premiere captures the visceral push-pull of intimacy and detachment. The cast—Eleanor Tomlinson as Clare, Michael Ahomka-Lindsay as Jonathan, and Jack Gibson as Wes—imbue each scene with raw humanity, revealing the fragility and resilience of those seeking solace in modern life.
Opening with a charged, exquisitely choreographed encounter between Jonathan, a reclusive illustrator, and Wes, a young man seeking connection, the production establishes a tone that is intense, unguarded, and disquieting. Ahomka-Lindsay’s portrayal of Jonathan artfully strikes an emotional balance, capturing both the hesitance and yearning of a man scarred by tragedy. This initial interaction, tinged with vulnerability, reveals Jonathan’s persistent battle between an instinct for self-protection and a longing to reconnect with the world.
Clare, portrayed with palpable spontaneity by Tomlinson, disrupts Jonathan’s isolation. Her presence, vibrant and unfiltered, recalls Katharine Hepburn in Bringing Up Baby—a force of chaos and candour whose very nature catalyses Jonathan’s awakening. Tomlinson’s performance is magnetic, balancing Clare’s brashness with moments of touching vulnerability, making her a compelling counterpart to Jonathan’s reserved nature. Together, they embody an unconventional companionship, a dynamic characterised by both friction and tenderness as they navigate their shared loneliness. Their rapport offers not just warmth but insight into the nuanced intersections of grief and desire, as each seeks refuge in the other without fully opening up.
Design-wise, the production is a masterpiece of minimalist elegance. Ti Green’s spare yet expressive set and Robbie Butler’s ethereal lighting cast the stage in a spectral glow that mirrors the characters’ emotional landscapes. The interplay of light and shadow becomes a language of its own, transforming the space with each shift to reflect moments of fleeting solace or buried pain. Nicola T. Chang’s subtle yet evocative sound design resonates deeply with the narrative, crafting a soundscape of reverberations that heighten the play’s quieter moments. Daniel Denton’s video design, too, adds an atmospheric layer, giving Jonathan’s world an almost cinematic feel that amplifies the sense of fragmented reality.
The realism in López’s script lends the play a grounded authenticity, creating an almost hypnotically voyeuristic view into a broken man’s life. Jonathan’s journey is powerful and complex, though certain moments—such as an especially intense portrayal of a panic attack—momentarily tip into excess, briefly disrupting the otherwise seamless immersion.
Reverberation crescendos in a heart-wrenching finale, leaving Jonathan to confront the unhealed wounds that tether him to his past. Rather than offering comfort or closure, the play lingers in a place of unresolved yearning, where human connection remains both vital and elusive. Sain’s direction, paired with the cast’s piercing performances, crafts a production that resonates far beyond the stage—a haunting reflection on isolation, memory, and the quiet echoes of lives intertwined yet fundamentally alone.
★★★★☆ Tilly Marshall, 9 October 2024
Photo credit: Marc Brenner
