Dear Martin
by Madeleine Brettingham
director Wiebke Green
with Alex Mugnaioni, Ben Simpson, Amelia Donkor, Edward Judge
set/costumes Kit Hinchliffe
sound Julian Starr • lighting Lucía Sánchez Roldán
Arcola Theatre, Dalston • 5-29.Mar.25 ★★★
A gleefully black comedy, this play by veteran TV writer Madeleine Brettingham centres around an unusual connection between two men who are caught in their own precarious situations. It's very funny, eliciting gut-level laughter largely at the offbeat disparity between these characters. And while the tone is arch, with broad performances and eye-catching staging, there are terrific themes running through the interaction. So even if the play never pushes the themes too far, the audience is provoked to consider friendship from an offbeat perspective.
On a white-on-white studio stage augmented by coloured lights, Dave (Ben Simpson) recites a letter he has written to Martin (Alex Mugnaioni), furious that Martin has been engaging in sexually charged correspondence with his wife, who has a history of adultery. Martin's reply oozes with charm and understanding, so Dave goes to visit him in a high-security mental hospital. And there is a clear spark between them. Over the following months, Martin makes a deal to help Martin fix his marriage if Dave convinces prison officials that Martin has an actual friend. But Martin never reveals why he's locked up.
Inventively staged with scenes that dissolve into each other, allowing characters to interact with each other on a range of witty levels, the story moves with propulsive energy, drawing the audience in deeply. These are hugely engaging characters, each with textures that are endearing, infuriating and hilarious. And they're played with out-sized charisma. Mignaioni makes Martin so magnetic that it's impossible to dislike him, even when we begin to understand his psychopathic tendencies. And Simpson gives Dave a relentless open-faced honesty, like a puppy dog whose only desire is to please. Their chemistry is fascinating, even when it drifts over the top.
Side roles provide context and interest, most notably the variety of characters Amelia Donkor disappears into, from Martin's acerbically sceptical doctor to a prostitute Dave attempts to hire on Martin's advice. And Edward Judge makes an impact as Martin's too-cheerful fellow inmate Ben and also as a journalist who attempts to get to the root of Martin's story. Here's where the writing, directing and acting are at their very best: even as we discover Martin's horrific true nature, he becomes increasingly sympathetic, because we are seeing him through Dave's optimistic eyes.
This is a fascinating exploration of what motivates us to make connections with other people, especially those moments when friendships emerge where we least expect them. These ideas add an involving emotional undercurrent to the production, which bristles with visual and verbal energy, including wry moments that involve the audience. And the story is punctuated by inventively edgy moments of drama, humour and intrigue. The overall tone feels rather smug, pleased with each clever turn of phrase or snappy visual beat. But it's also thoroughly entertaining.
photos by Charlie Flint • 7.Mar.25
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