The Gift of the Gorgon is a very Cambridge play. Partially set here, it is full of classical allusion and angst about the role of academia, and engages in an almost essay-like way with its central theme of forgiveness and vengeance. This central question fuels the tension between deceased playwright Edward Damson (Chris Born) and his widow, Helen (Rosie Cross), who reluctantly relates their story to Edward’s son Phillip (Sam Lawson), an academic.

Director Hannah Marcus confidently navigated the flashbacks and sections of Edward’s plays, seemingly viewing all through the idealising eyes of the son. Marcus split the performances into three registers, choosing naturalism for the ‘real time’ while opting for increasingly stylised performances for the flashbacks and excerpt sections, giving the feel of a romanticised imagination.

The impression of fantasy was bolstered by a committed support cast, though ensemble were constricted by following the demands of the director’s larger interpretation rather than focusing on their individual characters. One of the most successful elements was the boldly simple visual design; flashbacks were lit in red, recalling the father’s habit of writing in scarlet ink, and supporting characters’ costumes drew distinctions between their roles.

Lawson’s performance intelligently coloured each scene; by simply observing the action for large sections he was engaged (and therefore engaging) without ever imposing on the scene. Rosie Cross had by far the most difficult role. She was required to switch between flashbacks and real time, often achieving only an uncomfortable compromise between the two. That said, when these two areas did come into direct conflict later in the play her performance was completely convincing. Chris Born’s charismatic performance cleverly invited an early focus on Edward’s body which later becomes hugely significant.

Some of my favourite things about this production didn’t seem intentional. The music, written by Damson, was generic to the point of kitsch, but I came to think of this as part of the naivety in the flashbacks. Towards the end of the show a bottle of vodka was spilt over Edward’s writing desk. The bottle was quickly set back but not before the vodka had soaked both the Phillip’s notes and Edward’s plays.  This mirrored the dramatic action, signifying a loss of control both for Phillip in the moment and for Edward to alcohol over an extended period of time. The liquid later spilt off the table exactly coinciding with a moment of breakdown from Helen. Intentional or not I’m going to roll with it as an excellent part of the performance. 

This show was a strong interpretation of an extremely compelling play about ideas which the production told through a clear, emotional and believable drama.