At a time when journalists are thought as untrustworthy as politicians Blue Sky’s premise feels idealised - an investigative journalist doing whatever it takes to break a story about extraordinary rendition. But dig a little deeper and Clare Bayley’s thoughtful play explores how individuals relate to government and society’s propensity to look the other way.
Lean and mean Jane and cuddly Ray meet up for the first time in years because Jane’s got a hunch and Ray’s plane-watching hobby could hold the key. As she gets further into her investigations questions of journalistic practices and the ethics of citizenship come into play as Jane encounters resistance from Ray, his activist daughter Ana and the wife of one of those kidnapped.
Bayley’s text is full of measured dialogue and sometimes lacks the dramatic thrust to take flight. But Elizabeth Freestone’s tight production keeps the action moving, while Adrienne Quartly’s sound design evokes both the psychological and practical aspects of this controversy.
Sarah Malin is hard as nails as Jane, but although Bayley gives her plenty of opportunity, her armour never cracks. Jacob Krichefski and Dominique Bull are likeable as Ray and Ana but it is Manjeet Mann’s disbelieving wife whose emotional journey connects to us most powerfully.