Richard and Susen Edwards live godly lives, as well as they can do so. Unfortunately, after the untimely death of a child for the fourth time, the couple's suspicions are turned to their neighbours - might there really be witches among them?
The Ungodly is a very interesting concept - the story's initial protagonists become its unwitting villains, and it offers a glimpse into a genuine moment of history, not to mention an incredibly compelling end note. Unfortunately, it is the execution of this concept that lets the piece down. The primary frustration here, and a challenge with both its writing and direction, is a general sense of monotony throughout - though it certainly picks up a little in the second act, the entire play feels very slow and altogether too long. Indeed, there are moments of superfluous exposition aplenty (including a rambling conversation in the play's final scene where the couple question their own morality - with potential to be one of the most impactful endings of a play ever seen, excessive exposition undermines its potency).
Some of the text's sharper lines - there are some excellent comic lifts undercutting the overwhelming severity of the plot - are not directed to their full potential, and it often feels as if we are being told a story detail by detail rather than getting to experience something purpose-built for the stage. The programme explains that it "is based on a true story, meticulously researched by writer and director Joanna Carrick" and there is an overriding sense that this level of thoroughness in the play's preparation has not been well-distilled into an especially engaging piece of theatre. Perhaps more creative licence needs to be taken in order to get the most from what appears to be lucrative source material.
All this being said, there are some truly lovely touches across the spectrum of the production. David Newborn's lighting is appropriately dim and foreboding throughout, with sudden moments of brightness toying with our expectations and comfort. Two stand-out performances come from Christopher Ashman as Richard and Vincent Moisy as Matthew. Ashman is delightfully endearing (though we long for a little stronger romantic chemistry with his on-stage wife) with excellent comedic awareness and an ability to shift the tone of a scene in an instant; and Moisy chills the audience as the fanatical puritan - he brings delicious nuance to what could simply be played as a villainous character, and we get to see the tragedy of his character development as the scared boy finds comfort in a hardline misogynistic world-view - a narrative that remains depressingly relevant.
The entire cast does a wonderful job of delving into the intense emotional beats of the piece; it is just a shame we don't get to sit in them for longer. The harrowing grief that drives the Edwards' descent into hateful suspicion is glimpsed, but not given the space to truly turn our stomachs, and poor Rebecca's manipulation and eventual confession that results in devastating consequences is barely scratched at. The ability of these performers to deeply unsettle us, as would be appropriate, is not remotely in question, so it is frustrating they aren't given the space to do so.
An interesting and thought-provoking tale, The Ungodly runs at The Southwark Playhouse (Borough) until 16th November.
Review: Penny Lane Photo: Bernie Totten