Expert storytelling imbued with common humanity
Winner of the 2021 Papatango Prize, The Silence and The Noise brings together two teenagers either side of the county line. We open with Ben (Joe Dolan) being held at knifepoint by Daize (Deborah Olat), an intruder in her backyard; this first encounter binds the pair’s fate together in ways neither of them could imagine. Directed by George Turvey, this revival of Tom Powell’s award-winning play burns brightly in its sensitive exploration of the cost of addiction.
Whilst only running at 75 minutes, Powell manages to confidently touch on a variety of issues that never diminishes the seriousness of the play’s subject matter. We hear of Ben’s activity on the county line, fraught family relationship and exclusion from school; meanwhile, Daize is living in abject poverty, stuck looking after her mother in the throes of addiction. Both are victims of their circumstances and where Powell excels is in providing no easy answers. They are equally caught in the horrors of their own lives that escape seems nearly impossible.
The dialogue allows the two characters to dance around each other, starting with an entirely convincing urban tone which slowly breaks down as the pair become more comfortable with each other; their words becoming as sharp as the weapons they hold. This is well-complemented by subtle moments of humour which naturally bring a warmth to the play’s events.
Powell paints a complex picture of modern masculinity with a skilful hand. Ben exhibits an unashamed distain for his younger brother, finding a role model in dealer, Bettle as his ambition for wealth and success builds. He’s torn between the love for his parents and friendship with Daize and a growing pressure to be a ‘soldier’ on the line. Small changes in costume help serve this transformation as we start to see the shell of the 15-yr old boy break.
The Silence and the Noise marks both Deborah Olat’s and Joe Dolan’s professional stage debut. There’s a quiet assurance in both their performances, filled with nuance that only serves to enhance the humanity of the characters they play. Even in moments of conflict, we see the depth of their growing friendship and care for each other. With much of the core action happening offstage, the pair sustain our attention with their reactions, bringing Powell’s writing to undeniable life.
Set design by Stella Backman brings us into Daize’s back garden: a burnt-out sofa, disused washing machine and the overgrown weeds portray a desolate picture of her home life. The fault lines in the paving slabs glimmer throughout as the cracks in the pair’s lives begin to surface. Transitions between the scenes are aided by soft changes in lighting (design by Si Cole) and an almost The xx-style soundtrack by Asaf Zohar. The pace is built by these moments as we see the gradual passing of time from the pair’s first meeting to the play’s ultimate conclusion.
You are left in no doubt why Powell’s script was selected from some 1,410 entries in 2021. It’s a work well deserving of its flowers.
The Silence and The Noise tours until 12th Dec. Tickets here.