Review of ‘The River’: “Unstrained flow”

Jez Butterworth’s three-hander thriller returns to the London stage in a new production starring acclaimed television star Paul McGann. Guillermo Nazara shares his views on the show, to let us know if its fluid narrative manages to make a splash.

What I like most about rivers is you can’t step into the same river twice – the water’s always changing… For those who haven’t watched it yet, a quote from a Disney classic may seem inappropriate for the opening of a review about, as it’s advertised, a thought-provoking thriller. For those who have, they will understand its childlike connection almost immediately. The thing is that rivers are, in fact, the very currents of life – in every meaning of the expression. They bring it on with the same impetuousness they can rip it apart. And at the same time, they mirror the torrents we undergo day by day, as their nature reminds us of the truest notion about our courses: as much as we try to hold on to our memories, none of them can ever return the past into our present.

Jez Butterworth’s haunting play confronts that concept by making its own comeback to the London scene. Leaving the Victorian frill of the Royal Court for the concrete-based atmosphere of the Greenwich Theatre, The River pours back its drama down the stage – reuniting audiences with its eerie tale of longing, anguish and healing. An isolated cabin standing in the quietness of the woods. A silent man inviting her female companion for a weekend away from the rest of the world. A background she doesn’t know about, but will soon be entangled to. And a long-lasting secret he finds himself unable to confess.

Directed by James Haddrell, the piece excels in its ability to provide the recount with proximity and verisimilitude – particularly through Butterworth’s uncanny skills to endow the dialogue with realism and flow. At no point, regardless of the intensity of the plot, does any scene become either artificial or overexaggerated – but instead, an accurate depiction of how life feels and works. Yet, the same cannot be said when it comes to the account’s evolution – which, despite the engagement its framework manages to secure, can’t nonetheless help but leaving us with a mild sense of dissatisfaction at the end.

Though brilliantly blending both time settings through a totally seamless structure, and capable of mirroring both situations without triggering an excessive vibe of repetition, there’s a hint of exploration that we, as viewers, are teased by along the journey, but deprived from by relying too much on the surprising effect at the finale. There’s a lack of depth into the protagonist’s psyche that, apart from the ongoing exposition it displays all throughout, makes the piece miss the opportunity to dive into some major, more challenging themes almost entirely. And as result, we’re left with a clashing impression of a work that, though able to entice, struggles to fulfill.

Part of that problem is however watered down by the generally superb quality of the performance. Featuring a three-handed cast formed by Paul McGann, Kerri McLean and Amanda Ryan, the whole troupe exudes complete chemistry and rapport in the renditions. Yet, it’s McGann that makes the most praiseworthy appearance of the lot, proving absolute command of his role through his approach on the troubled personage – austere in form, but remarkably rich and profound in substance.

Flooded with storytelling prowess, as well as submerging its audience into a tenaciously hooking universe, The River oozes Butterworth’s signature talent for narrative organicness, but strives to achieve much else than some soft sprinkles of insight into its final concoction. Putting too much attention on setting up its mystery (and in that way, forgetting to open its doors into the remaining aspects needed to give significance to its jaunt), the piece could turn the tide by drowning away all superfluous assets and replacing them with a more touching, bonding picture that would finally speak to every viewer. It’s far from hitting rock bottom, but still needs better flings to surf the wave.

All pictures credit to Danny with a Camera.

The River plays at London’s Greenwich Theatre until 27 October. Tickets are available on the following link.

By Guillermo Nazara