Reviewed by Matt Forrest

Opening Night verdict ⭐️⭐️⭐️⭐️

It would be fair to say that over the last decade, actor Maxine Peake has been involved in some of the boldest, most unique and much discussed pieces of theatre to grace the stages and spaces of Manchester. Peake, along with fellow collaborators Sarah Frankcom and Imogen Knight, are the co-founders of MAAT (Music, Art, Activism and Theatre) whose body of work has been showcased in the city for well over a decade with the promise of being brave and innovative and something that will live long in the memory. Recent efforts have included Percy Bysshe Shelley’s The Skriker and a look back at the singer, Nico’s 1968 album The Marble Project for their project The Nico Project.

For their latest offering the group, along with writer Daisy Johnson, bring us Robin/Red/Breast: a reimagining of John Bowen’s folk horror classic Robin Redbreast first broadcast on the BBC in 1970 as part of the Play for the Day series.

The action focuses on Norah (Peake) a writer who, following the end of a relationship, has decided to escape the rat race and move out to the country. There she buys a little cottage in the heart of a little village. The cottage may not be perfect, with it’s wasps and mice infestation, but it’s hers. However things soon turn sour as the city outsider’s presence soon draws the ire of the villagers, who interfere in and around the cottage on a regular basis. The only distraction from this comes in the form of Robin (Tyler Cameron) , a local woodsman and towering figure of a man, who seems as interested in Norah as she is with him. As Norah and Robin’s relationship grows so do the hostilities from the village and its residents leading to a battle for Norah’s mind, body and soul.

At the time of its broadcast, the original Robin Redbreast was compared to the 1971 cinema masterpiece The Wickerman. I haven’t seen the original Robin Redbreast, but I have seen The Wickerman, and themes of fertility, power and isolation are present there and are present here. However there are tips of the hat to other staples, Rosemary’s Baby and the more recent Midsommar. However, rather surprising for me was the presence of Sam Peckinpah’s notorious British western Straw Dogs.

What this production does so well right from the start is nurtures and cultivates the feeling of impending doom with with the arrival of a 10 strong all female brass band, complete with striking red and white majorette outfits playing a haunting piece that conjure up images of sacrifice: it really is as stunning as it is unsettling.

Upon entering the theatre the audience are given a set of headphones, which are used for the first act. We are introduced to Norah, who silently demonstrates life in her new home and with the addition of the headphones we get to hear Norah’s inner thoughts and feelings –  about how she ended up here and also what she thinks about her new neighbours. Norah doesn’t prove to be the most reliable of witnesses. Her actions often betray her thoughts, and sets up a nightmare that is about to unfold.

At a running time of 55 minutes right through, this is a compelling watch, with creatives at the top of their game. Maxine Peake is a tour-de-force, giving a performance dripping in physicality and raw emotion. The sequence between her and Tyler Cameron are beautifully choreographed. The sound design by Pete Malkin superbly blends the tranquillity of birdsong with the harshness of Norah’s rejection. Whilst Gazelle Twin’s composition is suitably unnerving and on one occasion physically unsettling, this (un)holy marriage with Carol Jarvis’ arrangement works well throughout.

This is at times a tough, unrelenting watch, with plenty of scope for interpretation. A bold, visceral piece of theatre sees creative talent at the top of their games creating a piece of theatre that will be talked about for many years to come.

Robin/Red/Breast is on till 26th May. Tickets are available here.