Switzerland

The curtain rises on a bunker-like room, set on an unnerving sideways rake. We meet our two characters, real-life persona, writer Patricia Highsmith and a representative from her New York publisher, an eager young man called Edward Ridgeway. At first it appears that this is a room from which there is no escape, but in this show, things are rarely as they appear.

Bruce McKinven’s blank canvas of a set is an interesting canvas for this show. Like the text, it reveals surprises as the play progresses. The rake is interesting and has strong symbolism, but at times the actors seemed less than comfortable moving around the space.

Excellent interaction between two superb performers moved the show well. Jenny Davis is stunningly good as cantankerous, bad-tempered, cynical and possibly dangerous recluse Patricia Highsmith. Giuseppe Rotondella delivers a wonderfully layered performance as the agent, a young man who has more than expected depth.

Lucy Birkinshaw’s lighting is a key factor in some moments of strong tension, while Ash Gibson-Greig’s composition and sound design runs from the subliminal through to some extremely clever and striking musical moments.

If there is such a thing as a slow burning thriller, Black Swan’s Switzerland fills the bill. While the first ‘act' (there is no interval) runs slow, requiring some effort from the audience, there is definite pay-off later in the show.

Switzerland by Joanna Murray-Smith is an intriguing look at power play, very thoughtfully directed and brilliantly performed. A great choice for a thinking night at the theatre, and a show that makes me want to read some books by Patricia Highsmith.

Kimberley Shaw

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Photographer: Philip Gostelow