Piranha Heights

Piranha Heights is a one act play by Philip Ridley. It is Ridley's seventh stage play for adults and premiered at the Soho Theatre, London in 2008.[1] The production was the second collaboration between Ridley and Soho Theatre Artistic Director Lisa Goldman whom Ridley dedicated the play to in his preface of the published text. The play also featured Luke Treadaway in one of his earliest professional stage credits, who along with actor John Macmillan was filmed for Ridley's 2009 horror film Heartless, during the play's original run.[2][3][4]

Piranha Heights
Promotional artwork for the play created by Philip Ridley
Written byPhilip Ridley
CharactersAlan (Male, aged 37)
Terry (Male, aged 42)
Lilly (Female, aged 15)
Medic (Male, Aged 16)
Garth (Male, aged 15)
Date premiered15 May 2008
Place premieredSoho Theatre, London
Original languageEnglish
GenreIn-yer-face theatre, Black Comedy, Farce
Setting"The top-floor flat of a tower block in the East End of London."

Piranha Heights serves as the third and final instalment in Ridley's unofficially titled "Brothers Trilogy", having been preceded by Mercury Fur and Leaves of Glass.[5][6][7]

The play was later revived at The Old Red Lion Theatre in 2014 for which Ridley substantially revised the script.[8]

Plot

The play takes place on Mother's Day where Alan is in his mother's flat. Unexpectedly his brother Terry turns up, having been missing since after their Mother's death several weeks before.

Terry has brought along with him a fifteen-year-old girl called Lilly who lives in a squat below the flat. She wears a hijab with niqab, speaks in an unusual mix of English and an unknown Middle-Eastern language and also claims to have endured many horrors as a victim of an Islamic war in an unspecified country.

Tension mounts while the anger builds between the two brothers as they argue over who should inherit the flat, as well as argue their conflicting memories of their deceased mother.

Eventually Lilly's partner The Medic arrives. He is a sixteen-year-old boy who frequently swings from being overly grateful to extremely angry. He along with Lilly look after a plastic baby doll called Bubba which they treat as if it is their own child.

Also showing up at the flat unexpectedly is Alan's 15-year-old son Garth, who for years has hidden his true psychotic personality, enjoying to inflict cruelty onto others under the influence of his imaginary friend called Mr Green.

Taking place in real-time and spanning approximately ninety minutes in length, chaos ensues in the flat as the characters go to extreme lengths to achieve their aims.

Notable Productions

Premiere

15 May 2008 at the Soho Theatre, London.
Directed by Lisa Goldman.

Shortlisted for The MOBIUS Best Off-West End Production Award at the 2009 WhatsOnStage.com Theatregoers Choice Awards[9]

2014 Revival

11 November 2014 at the Old Red Lion Theatre, London.
Directed by Max Barton.

Reception

The original production received generally positive reviews.

Michael Coveney of WhatsOnStage.com gave an enthusiastic review, awarding the play five stars, writing that “With this truly remarkable new play, Philip Ridley completes an East End trilogy of siblings and apocalypse – the others were Mercury Fur and Leaves of Glass – that will one day be rated one of the high water marks of British drama in the first decade of this century” adding that the production was “a work of dark fantasy and genius.”[6] Philip Fisher of British Theatre Guide gave a positive review, stating that the play “is the theatrical equivalent of a gigantic Jackson Pollock splatter painting. It is shocking with little surface meaning but is addictive and, to some, inexplicably attractive.”[5] Aleks Sierz for The Stage praised the play, writing that “although the imaginary element of the play is often outrageously cruel and breathtakingly audacious, it is always firmly grounded in the emotional truth of character” and that “it really feels as if Ridley has single-handedly brought white-knuckle excitement and appalling truth back to the new [play]writing scene.”[10]

The Guardian critic Lyn Gardner, though giving a mostly positive review, only awarded the play three stars, saying that it is “not a show for everyone and definitely not for the faint-hearted.”[11] Time Out London gave a mostly positive review remarking that “there is some fine writing here, combined with moments of knuckle-whitening tension” and that the play “evokes the all too recognisable violence and madness of modern Britain.” However, the magazine criticised elements of Ridley's writing, saying that the “script never quite decides whether it's a farce or magical realism” and also added that “[it is] a bit of a mess structurally – as if three separate plays are fighting for attention.”[12]

On seeing the original production actor Ben Whishaw, who had starred in two of Ridley's previous adult plays (Mercury Fur and Leaves of Glass), remarked that It was "extraordinary and very moving. It put me in a kind of trance. I love the way he [Philip Ridley] writes about fantasy, truth, honesty and lies with such courage, passion, humour and poetry. I think he's a true original"[13]

However, the play was not greeted with praise from all reviewers. Ian Shuttleworth in his prompt corner column for Theatre Record took a dislike to Ridley's use of Lilly's character speaking most of the play in a made-up Middle-Eastern type language, stating that “a character spouting vaguely Middle-Eastern gibberish which is meant to be Arabic prayer is going to be seen with some justification as insulting – not because we're living in sensitive times and need to be politically correct or whatever, but simply because it has all the unsubtlety and laziness of those 1970s TV sitcoms where Europeans or Mexicans were inherently funny simply because they sounded different, and any stereotypical different sounds would do.” He, however, wrote, explaining that he understood that the “character has a point inside the play” but stated that the character “has implications beyond [outside the play’s context]; and I think it's too easy to give the writer a free pass because of claims that he's being bold or challenging” adding that “often [Ridley] doesn't know when to stop.”[14]

gollark: This is a joke, since it's basically just a computer/computer communication backend which happens to have a vaguely chat-system-looking frontend.
gollark: No.
gollark: You could always use skynet for your chat system.
gollark: I think you should delete that. What software is it?
gollark: https://i.osmarks.tk/memes-or-something/pings.png

References
  1. "Webpage of the 2008 production of Piranha Heights on the Soho Theatre website". Archived from the original on 19 May 2008. Retrieved 25 October 2018.
  2. Luke Treadaway's CV on Hamilton Hoddell's website
  3. John Macmillan's CV on Curtis Brown's website
  4. "Heartless - Philip Ridley interview". IndieLondon. Retrieved 24 October 2018.
  5. Fisher, Philip. "Piranha Heights". British Theatre Guide. Retrieved 13 June 2018.
  6. Coveney, Michael (30 May 2008). "Piranha Heights". WhatsOnStage.com. Retrieved 13 June 2018.
  7. Goldman, Lisa (August 2012). The No Rules Handbook for Writers (know the rules so you can break them). Great Britain: Oberon Books Ltd. p. 185. ISBN 9781849431118.
  8. Webpage of the revised play-text of Piranha Heights on Bloomsbury Publishing's website
  9. Webpage of the 2009 WhatsOnStage Theatre Awards
  10. Sierz, Aleks (22 May 2008). "Piranha Heights review at Soho London". The Stage. Retrieved 25 October 2018.
  11. Gardner, Lyn (27 May 2008). "Theatre Review: Piranha Heights / Soho, London". The Guardian. Retrieved 25 October 2018.
  12. webpage of the 2008 production of Piranha Heights on Time Out London's website
  13. Cripps, Charlotte (4 July 2008). "Cultural Life: Ben Whishaw, Actor". The Independent. Retrieved 25 October 2018.
  14. Ian Shuttleworth's Prompt Corner review on his website for the 11/2008 issue of Theatre Record
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