Coriolanus Vanishes review at Tron Theatre, Glasgow – ‘a meticulous meditation’
Deliberate and calculated in every facet of its delivery, David Leddy’s Coriolanus Vanishes explores a complex mix of guilt, trust and the perpetuation of abuse through generations.
Returning to the stage for the first time in 12 years, Leddy delivers his dense, rhythmic text in a small, meticulous voice, perfectly pitched and modulated to ensure every syllable is clear.
Chris is in prison. The three most important people in his life are dead but he can’t remember why he is there. It is the recovery of these memories and the revelation of how he arrived in this place that drives the play. As a father, a wife, a lover, and a son are remembered, so Chris’s own life is exposed.
Leddy’s production plays out on a claustrophobically blank stage – white walls are angled to meet in an apex at the rear while moving shutters change the shape of the space.
Leddy sits behind a large office desk, six feet above the stage. Nich Smith’s lighting uses silhouette, swathes of colour and beams of light. Danny Krass’ microphone effects fuse Leddy’s voice with the sound of his movements and create a sharp electronic undertow.
The light and sound work together to illuminate and enhance Leddy’s delivery. The production is reminiscent of his immersive sound work, but works on its own terms and needs none of the grander effects that his Fire Exit company has used in recent years. It makes for a tense, controlled piece of theatre.