‘Memory: One’ at the King’s Head

Performers – past and present – at this venerable institution read like a who’s who of the theatre world: Ewan McGregor, Kenneth Branagh, Joanna Lumley, Ben Kingsley, Alan Rickman, Gary Oldman, Kathy Burke, Prunella Scales: many of whose familiar, framed, black and white faces hover intently on the wall at The King’s Head in Islington, overseeing the queues of patient punters assembling inside for tonight’s live show.

The King’s Head is legendary on London’s fringe theatre scene. Founded in 1970 by Dan Crawford (an American theatrical producer) it was the UK’s first theatre pub, and since its creation there have been over 30 transfers to the West End, six to Broadway, and eight national tours. The pub is now widely regarded by critics, thespians and theatre-goers alike as one of the capital’s most prestigious off-West End venues, with consistently inspired productions and performances.

One of the site’s latest theatrical accomplishments, Memory: One, is no exception. Written, produced and directed by talented multi-tasker and sometime actor Gavin Cooper, this dramatic yet pleasantly unfussy psychological thriller (with a minimal set and three actors) boasts more twists and turns than a break-dancer on acid.

It all begins in the darkness of a small cabin on the Matterhorn, where three survivors of a freak avalanche are awaiting their imminent rescue. An already intense atmosphere is cranked up a few notches when the play begins but the stage lights don’t come on, and the audience starts to realise that they might be sitting in the shadows for the next 60 minutes, the only illumination of which comes from torches wielded by our three perturbed performers.

The initial tone feels like the spooky tent scene in indie horror flick The Blair Witch Project: from the darkness there’s a fear of the unknown, instances when all we see is black, and all we have to rely on is the near-panicked voices of our actors. The King’s Head fosters a distinctive intimacy between audience and performer; the action is within arms reach of your seat. Sometimes the performers shift from the stage into the seating aisles and behind the back row, effectively utilising the space. We almost feel like we are trapped in the cabin with them.

Not long into the play it transpires that one of the characters, John, has suffered memory loss from the avalanche accident, so James and Samantha endeavour to help him recover. But after a series of peculiar incidences and strange inconsistencies the pair begin to question who ‘John’ really is. With suspicion and paranoia ascending it is only a matter of time before accusations are thrown, tensions between the trio rise and doubt is cast over the identity of all three.

Memory: One (the first play of a trilogy) is a clever, crafty and gripping dramatic work that promises big things for Cooper and his cast. Robert Wedig is an intense and powerful John who portrays both compassionate and psychotic tendencies perfectly in equal doses, keeping us guessing to the very end whether he is friend or foe.

Sarah Strong brings a compelling resilience to Samantha, a woman torn between two men who may – or may not – be her husband. She carefully represents her character’s inner strength, vulnerability and desperation, without coming across as melodramatic or flimsy. This is an actress who obviously excels in dramatic roles, and is a name to watch out for on the fringe theatre scene.

With equal vigor Simon Tcherniak skillfully exposes James as an intolerant and slightly defeated victim with the necessary elements of aggravation and frustration, demanding a strong – and sometimes comic – stage presence, even in calmer moments.

Cooper and his dramatis personae have joined the great wealth of talent to have treaded the famous boards of The King’s Head stage. Perhaps soon we’ll see their black and white portraits on that prestigious wall?