But the might of Sus is its continued relevance. The pressure of the play’s early parts is broken by the slow acting of police procedure in the final scenes. If Tomlinson hopes to build a world of real naturalism, his directorial decisions need more polish. Phone beeps are played loudly when Delroy’s calls to a lawyer are left unanswered, but it remains a silent prop on any other occasion it is used. There are clumsy inconsistencies too: some whispers shared between the policemen are audible while we are forced to believe others could go unnoticed. Directed by Paul Tomlinson, the moments of Delroy’s isolated sadness are ruined by a garish flashing lighting design by Jamie Platt. Desperate for Thatcher’s “new dawn” to bring with it tighter immigration laws and increased pay for police, he is an expert at conveying a domineering vileness – even if his venomous laughter occasionally strays into the realms of melodrama.īut while Keeffe’s writing is still potent, this production lacks subtlety.
As Karn, Neal is a hideous top cop controller. Led by two sleazy police officers Wilby (Fergal Coghlan) and his commander Karn (Alexander Neal), his grilling is harrowing and uncomfortable.
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