A Slow Air review, Tricycle

Glowering timorous beasties

A Slow Air is a beautiful piece of writing. Lyrical yet prosaic, it is the story of a Scottish brother and sister, Athol and Morna, who have not spoken to each other for 14 years. When Morna's son, Joshua, turns up unexpectedly on Athol's doorstep, he unlocks the emotional forces his uncle has kept under control by leaving the city, chasing flooring contracts and walking the dog.

As Athol, Lewis Howden is heavy with responsibility. Morna (Susan Vidler) is his polar opposite: an explosive drinker incapable of control whether banging bus windows or hurling abuse at the pub entertainment. It's very Scottish. And very slow. David Harrower has written the play as a series of alternating narratives. It's all words. As a result, a short slump in concentration can mean a whole slice of subtle and carefully nuanced back-story is missed.

Conversely, the plays simplicity is its strength. The family's story ties into the Glasgow bombings - how could the bombers turn on their host community? Athol lived alongside one of the terrorists and there are gentle hints at commonality - the way embedded links can be severed in a moment of mischief.  So it is that when the cause of the rift between Athol and Morna is revealed, it is something small and spiteful and shamefully unnecessary. What chance reconciliation?

In conclusion: If you like physical drama, avoid this play. The ending is the first and only visual. It's a small one, but perfect - two people on different sides of the chasm wondering if parallel lines can meet before infinity.

References
Tricycle Theatre, tickets