REVIEW: THE GLASS HOUSE by Noah McCreadie at Lion and Unicorn Theatre 19 – 23 November 2024

Images: Framed Duck Studio

“I refuse to be insignificant” ★★★

Noah McCreadie’s The Glass House centres on the complex and fraught relationship between flatmates Bella and Wendy, who become entangled in a web of lies after committing a terrible act. As they try to navigate the aftermath in their dingy flat in Bromley, Detective Josie James is on their trail, closing in on the truth. As the situation spirals out of control, it becomes clear that Wendy is orchestrating something far more sinister, and the play unfolds into a chilling tale of manipulation and deceit, where neither Bella nor Wendy can escape the consequences of their actions.

This debut production from The McCreadie Company is an ambitious psychological thriller, addressing themes of manipulation, toxic relationships, guilt, and the desperate pursuit of acceptance. While the play is thought-provoking, the script struggles to deliver a fully cohesive narrative. The characters often feel underdeveloped, and their motivations remain unclear. Bella’s unwavering loyalty to Wendy is never fully explained, and Wendy’s psychological manipulation of Bella seems driven by a desire to cause harm, which she later justifies (in a too self-aware speech for a psychopath) that her Machiavellian behaviour is a reaction to being rejected by the world. Though more backstory on the central characters and their unhealthy co-dependency would be beneficial to the overall story arc, this sudden and improbable confession is not it.

The plot occasionally ventures into the unbelievable, with Wendy making rash decisions and telling lies that are easily disproven by the police, such as claiming to be married when she’s not. Additionally, the script employs twists and provocative language that appear more designed to shock than to progress the narrative or character development. While the intentionally obfuscated dialogue, handled more skilfully, could have created an air of intrigue, instead it seemed focused on provoking a reaction than on building tension or developing the characters.

That said, the performances are a standout. Kitty Evans portrays Wendy with chilling precision, capturing her manipulative and hard-hearted nature, while Harriet Cantello brings both fragility and quiet determination to Bella’s character. McLead’s portrayal of Detective Josie James provides much-needed humour and emotional grounding amidst the bleakness of the world of the play, and though an almost peripheral character, McCreadie’s performance as Kia adds subtlety and is expertly underplayed.

The atmosphere is heightened by Johnny Edwards’ original score and sound design, which provide a discomforting backdrop to the unfolding drama, enhancing the overall tension and unease that permeates the play.

Though The Glass House is an imperfect debut, the high production values and strong performances help elevate it. The sound design is particularly commendable, though the script could benefit from greater plot cohesion and deeper character exploration. It will be interesting to see how The McCreadie Company evolves, but for now, THE GLASS HOUSE stands as a grim exploration of psychological manipulation and the inevitable cost, even if it struggles with inconsistencies in its execution.

THE GLASS HOUSE by Noah McCreadie at Lion and Unicorn Theatre 19 – 23 November 2024

Presented by The McCreadie Company