A Review of Clarendon Productions’ Carrion

What happens if a tree falls in a forest and there’s no one around? What happens if a forest burns and no one is there to witness it? Does that mean that either make a sound or even happen? These are questions posed in the opening monologue of Max Morgan’s play Carrion, currently playing at C Arts. Based loosely on the plot of Othello, the play follows the lives of three animals (Crow, Bear and Fox) as they navigate spring time and the encroaching presence of the human world on their forest. This a piece of theatre which is as much about the visual aspects of a performance as the acting itself.

Upon entering the theatre, it is clear that time has been invested into the aesthetic of the play, with dirt and leaves scattering the stage and a log being placed at the centre. Quickly, a forest setting is established, one that is no doubt a challenge to navigate during the quick turnarounds between Fringe shows, especially given the food and other debris which becomes mixed through it over the course of the play. Beginning with a monologue from Crow, played by Will Shackleton, the concept of anthropomorphised characters is quickly established, their costumes simply and effectively representing the animals they are playing. Of the three costumes, there is no doubt that the most striking is that of the crow, the use of make up and subtle touch of a tattoo being particularly powerful beneath the moody lighting. This lighting is certainly one of the strengths of the performance and leads to some interesting moments of shadow which are leaned into from a visual perspective.

Having been performed in Oxford, this play has now come to Edinburgh with a new cast and under new direction, headed by Oxford student Lucas Angeli. Led by Bear, this ensemble of animals are all played excellently, with particular consideration being placed on the physicality. Nic Rackow’s performance of Bear is a rough and ready portrayal of the domineering animal, the actor inhabiting the role in such a way as to truly feel dangerous. Equally, Shackleton’s Crow is incredibly strong, both when interacting with the other characters and in moments of direct address. One cannot help but watch his often silent presence when he is on stage, the quiet characterisation being as eye-catching as the costume choices. A poignant contrast from a character who spent far too long licking blood from his fingers, Suzie Weidmann’s Fox is juvenile, sweet and a little boisterous. The range of emotions the character experiences are always clear upon her face, the innocent animal going through a truly tumultuous time. One cannot help but feel that she has really come into her own with this role, rising to the challenge with undeniable skill.

As for the script itself, at times Morgan has emanates the playwright upon which the work is based, leaning into a more poetic turn of phrase. While some of Crow’s monologues are quite beautiful, others feel a little jarring within the wider writing of the play, sitting slightly ill at ease at the end of scenes. This is a pity as it did take me out of the action at certain points. However, for the most part, this is an excellently written piece of student theatre and is ultimately a powerful play brought competently to life by a talented group of creatives.

Photo courtesy of Freddie Houlahan