Review: The Guilty (Donmar Warehouse)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

It feels fitting that time is of the essence in The Guilty at Donmar Warehouse. The play features phone calls that require quick thinking and immediate action, or the difference could be life or death. The fact that the play comes in at a speedy 60 minutes is a fantastic parallel to the speed in the story, but how much story can you actually tell in a solitary hour? Elphaba is still obeying the laws of gravity one hour in, and even the Queens in Six, the shortest musical in town, haven't finished their divorces and beheadings by the time an hour rolls by.  It turns out you can do a lot in an hour, and The Guilty might well be one of the finest examples of how size really doesn't matter when it comes to fantastic theatre, and it really is what you do with it that counts.

Based on the screenplay Den Skyldige, the world premiere stage adaptation of The Guilty stars Russell Tovey as troubled police officer Joe. Completing a night shift, he has found himself answering 999 calls. Somebody who has taken drugs, somebody complaining about their loud neighbours - it’s all very tedious. That is, until he receives a panicked phone call from Emily. What follows is a race against time to save Emily from the very real danger she is in, and try to solve the clues from the vague puzzle pieces Joe has managed to collect. Will he be able to figure everything out before it is too late, and how much can he do from behind a desk?

Written by Chloë Moss, the premise of The Guilty may not sound like much, with the focus on one man answering calls and going on Google, historically not the most exciting thing in the world. However, you would be very wrong indeed. The Guilty is utterly gripping. From its false start, ramping up the comedic moments and letting the audience settle before the real story unfolds, the tension builds and builds to the extent that I would have been interested to see my blood pressure during the play. At one key moment, Joe teaches Emily some breathing exercises to calm her down, and I found myself in need of them too.

Moss’s writing never falters - in fact, it is incredibly impressive just how much she manages to cram into 60 minutes. The Guilty never feels as if it is going too fast without any time to take anything in, and its speed is all part of its success, with the frantic and time-sensitive nature of the play incredibly replicated in both Moss’ writing and Felix Barrett’s direction. When a writer and director share a vision, theatre excellence can be achieved, and this is a prime example of that, with the sense that both have lifted the other to bring The Guilty to life on stage in a way that is both creative and effective.

Let me assure you that this is a safe space, and I would never dream of spoiling anything in The Guilty, but it is fair to say that there is more to this play than meets the eye. What exactly that is, I can’t tell you, but let me try to pique your interest. You are not allowed to take photos or film the curtain call at this show, and for very good reason. To do so would be an almighty spoiler, and you can expect to run into Donmar staff members on your way out to provided you with the missing piece. Wondering what I’m talking about? I’m afraid you’re going to have to see The Guilty for yourself in order to find out. What I can say is this is a story with twists and turns that has no shortage of shocking moments right up until the final blackout. I found myself on the edge of my seat throughout, wowed by the surprises and deeply exhilarated by the unpredictable nature of it all.

Deception is the key word when it comes to The Guilty, and that is also reflected in Alex Eales’ design. Replicating a dark and soulless office, the scene transforms to great effect, all while keeping the static nature of it. Again, there isn’t much more I can say without offering spoilers, but Eales’ design proves incredibly effective. Anna Watson’s lighting thrills throughout, from the dark opening to an incredible spotlight effect near the climax that creates a haunting image. However, it is the inspired use of red lighting that paints a better picture and creates a larger impact. Equally impressive is Gareth Fry’s fantastic sound design, a crucial piece of the puzzle given the prominence of the phone calls Joe takes, with the almost disembodied voices at times creating an ominous sense, immersing you in the setting and making full use of the beautiful intimacy at Donmar Warehouse.

Filling that stage alone for the entirety of the 60 minutes is Russell Tovey, returning to Donmar Warehouse and delivering a blisteringly brilliant performance as Joe. There is an intrigue behind the character, and Tovey is excellent at keeping his cards close to his chest while dropping hints as the mystery unravels. Joe becomes increasingly erratic over the hour and is unrecognisable from the man we saw just 60 minutes previously by the time the curtain falls, and this is where Tovey truly shines. Nailing the comic moments, it is the emotion that underpins his performance and the looming threat of darkness that makes his performance so utterly captivating to watch. This is a demanding role, but Tovey doesn’t put a foot wrong and proves why he is so well-regarded both on stage and screen.

I didn’t think it was possible to cram so much into one hour. By the time The Guilty came to its close, I had been through the wringer. It can be quite an intense watch at times, but that is what makes this such a powerful watch. Somehow, time seemed to simultaneously stop and go in a flash as The Guilty proved that the best things can come in small packages. Not outstaying its welcome, I could have watched another hour of it, though it is admirable just how much it made every second count. The result is an occasionally uncomfortable, uncompromising and unpredictable watch that had me gripped consistently. Following the critically acclaimed five-star smash of Mass, this is another huge hit for Donmar Warehouse, who find themselves guilty of hosting a killer season with this criminally good production.

The Guilty plays at Donmar Warehouse until 15th August. Tickets from https://www.donmarwarehouse.com/events/the-guilty

Photos by Helen Murray