Bound is the epitome of austerity theatre. A whole world is evoked by Bear Trap Theatre using just six actors, a table, some chairs and a solitary lamp. It’s an impressive achievement, one which netted this production no less than five awards at the Edinburgh Fringe in 2010.
The play tells the story of a group of trawlermen off the Devon coast, forced by the ever-present threat of recession to brave the ocean waves for another catch that will stave off bankruptcy. The already present tensions between the crew are exacerbated by the appearance of a Polish immigrant looking for work. Crammed together as they are in a small space, surrounded by a dark expanse of sea and rising winds, emotions become ever more turbulent.
Jesse Briton’s script defines these characters economically yet elegantly: there’s John, struggling to deal with the fact that his wife’s left him; boisterous young lads, Graham and Rhys; the experienced fisherman, Alan; and Woods the skipper, who is torn between running his business and keeping his men safe. It’s a well written piece which is performed strongly by all six actors. Alex Clarke is particularly good as the Polish interloper desperately trying to integrate with his new crew, while Johnathan Busby gains the majority of the laughs as the rowdy Graham. The chemistry between all six actors is excellent, accurately conveying the camaraderie of a team of workers.
The scenes are broken up by some beautifully sung sea shanties performed by the cast; this makes for a welcome contrast with the building tension and some of the harmonies send a shiver down the spine. Yet what makes the piece really impressive is the way that the actors manage to recreate the scenes on board the boat itself. There’s an incredible sense of motion, of unsteadiness, of building peril: the audience feels every sway of the boat, every blast of the waves.
The production makes only minimal use of props, instead the actors mime the casting of nets, the hauling in of the catch. They rock slowly back and forth as the sea grows rougher, and eventually, as the inevitable storm hits the fishing boat, the sole light is sent swinging back and forth while the cast rattle around the space and thump on the walls. It really is transporting: there a moments when you genuinely feels like you’re out there with them on the stormy seas, and afterwards it’s impossible not to feel a minor degree of seasickness.
The whole thing is wrapped up in just 75 minutes tense, taut minutes. Bound is a potent reminder of what theatre can do, proof positive that elaborate lighting and stage design are in no way essential and that if you have a strong script, a strong cast and a strong directorial vision, that’s sometimes all you need.