A gripping study of obsession, art, and damaged psyches.
Scarlet Sunday is haunting. It is a slow-burn psychological tragedy, bordering on thriller, that you cannot help but be drawn into. The story follows Yasmin in pursuit of a better understanding of her now-deceased artistic idol by interviewing his daughter, Ava. It is a grim tale of the folly of idol worship and the wounds left by the secrets we carry.
James Alston’s script is ingenious. His writing shows a depth and honesty that is almost surreal; every single line serves a purpose and conveys far more about the characters than is realized. The way in which he writes of the experience of art shows a true appreciation and understanding of the impact it can have. His finest work is in the patient way in which he brings Ava’s experiences to light; the build to her chilling revelations is a painfully realistic portrayal of a survivor’s fight to keep their head above water. In addition to remarkable plot and character development, Scarlet Sunday also delivers a number of eerily poignant lines that burn themselves into the viewer’s brain. Alston’s apparent understanding of suffering and art and obsession culminates in a hauntingly realistic story.
Set and costume designer Cat Fuller did a fine job in designing a set which felt natural and immersive. As haphazardly arranged as the space may appear, it is clear that each prop served a clear purpose in creating the beautiful and slightly off-putting atmosphere. Particularly brilliant was the use of backlit artists’ canvases as windows in the paint studio. The costumes were well-suited to each character, complimenting their distinctive personalities. Catja Hamilton’s lighting design equaled Fuller’s brilliance in its originality; colored lights, spotlights and a single hanging lamp on center supported the story and the atmospheres’ intensity. Sound designer and composer Odinn Orn Hilmarsson completed the immersive experience with his original scores.
Finally, completing the haunting experience are actresses Camilla Aiko and Sorcha Kennedy in the roles of Ava and Yasmin respectively. Both actresses delivered rousing performances of complex characters. Kennedy embodied the loud, confident, and often awkward personality of Yasmin, making her both charming and amusing. Aiko masterfully conveyed the complexity of Ava’s emotional journey, leaving the audience in tears as she told her horrifying story. What I found to be particularly memorable were the actresses’ physical interpretations of their characters; Kennedy moved quickly and stood tall, bouncing about the space just as Yasmin would, while Aiko’s movements were slow and purposeful, almost detached and sluggish until she revealed herself. The chemistry between the actresses was extraordinarily natural and developed with incredible ease; the slow-building tension throughout the show made it difficult to look away for fear of missing its eventual burst.
Scarlet Sunday is a captivating study of art, obsession, and suffering. It is a tense emotional journey that keeps viewers on the edge of their seats, empathizing with the characters, and questioning right from wrong. Alston’s script is a masterpiece; it is beautiful, traumatizing, and even funny at times. This, in combination with a talented cast and brilliant tech and set design, has created an incredibly moving and memorable show.
If nothing else, it will leave you with a question: Can you separate the art from the artist?
Scarlet Sunday opened at Omnibus Theatre on 1 March 2024 and runs until 17 March 2024. For this production, Aslant Theatre Company partners with charity Daddyless Daughters to provide creative workshops inspired by the play. Daddyless Daughters provides safe spaces through mentoring and workshops to support vulnerable girls and young women who have been affected by family breakdown, abuse and adversity.