A cast of ghosts

L-R: Jack Bailey (Jethro), Peter Daly-Dickson (Red), Katie-Anne Ray (Grace). Photo by Richard Smith.

The Cage Protects Me written and directed by Giles Allen-Bowden, at The Loft Theatre, Leamington Spa from 31 October to 8 November. Original music composed by Jonathan Fletcher. Stage Manager Hannah Brown. Set design Caitlin Mills, set dressing Angie Collins.

Review by Ann Evans

What better evening to open this play than on Halloween. Outside the Loft Theatre, Leamington’s town centre was teaming with devils, vampires, werewolves and zombies. Inside the theatre the stage was set for the arrival of even more ghosts.

But these weren’t your everyday type of ghost, two of these were the conscience of the main man in this story, Red. Shadowing Red they formed an intimidating presence in their black suits, particularly as it was obvious that Red (Peter Daly-Dickson) couldn’t see them. Although he and his wife and even their daughter - although we don't meet her, were all too aware that there were three people in Red’s head.

L-R: Anna Butcher (Elan) and Katie-Anne Ray (Grace). Photo by Richard Smith.

These two ‘men in black’ were Omen (Luca Catena) who was basically Red’s gut instinct, and Sense (Julien Rosa), which as the name suggests was the sensible side of Red’s brain. Their presence in Red’s mind had become so real that they had taken on their own physical forms. Red can’t see them – at least not to begin with.

The story is acted out inside the town’s church. Red, his wife, Grace (Katie-Anne Ray) and their child have taken refuge in the church after being blamed by the townsfolk for bringing a ferocious pack of wolves to their doors as these unearthly creatures had arrived shortly after Red and Grace moved into town.

Owen Watts (Howl). Photo by Richard Smith.

Red has fortified the church against this pack of bloodthirsty wolves. They attack at night and have gradually picked off most of the town’s inhabitants. Drylake in the outbacks of Texas is now a ghost town. Hats off to all the back stage crew for creating a set designers that was so different and atmospheric.

I think it’s fair to say there is nothing straightforward in this play, not even the timeline as we switch from the past when Red and Grace were as happy as they could be under the circumstances, to ten years on when Grace and her child are dead and Red can barely function with his heart broken.

Very good acting by Peter Daly-Dickson and Katie-Anne Ray, and their relationship is believable and touching. The early scenes in the play are heartbreaking and very cleverly portrayed as Red cradles his dead nine-year-old daughter in his arms and has no choice but to place her on a funeral pyre so the wolves don’t get her. This takes place offstage but the lighting and sound effects are excellent - and shocking.

In rehearsal Julien Rosa (Sense), Luca Catena (Omen). Photo by Richard Smith.

Act one involves quite a lot of in-depth dialogue, and at times the characters were quite softly spoken so you really had to concentrate to keep up to scratch with everything you needed to know. However, with the arrival of Elan (Anna Butcher) – a deeply troubled young woman, on the run from her own demons, her clarity and volume of speech seemed to encourage the others to project their voices a little more.

An excellent performance by Anna Butcher who delivers her powerful scenes with real passion from start to finish, with her true personality and her importance to the story and its outcome gradually revealed.

Jethro (Jack Bailey) was another who gave a stand-out performance. And Elan’s dead husband, the ghost of Thomas was extremely unnerving. But the most sinister of all was Owen Watts who played Howl, a tall, black-coated figure who represented the wolves. If there are awards for the most menacing entrance, he deserves it. Fantastic performance throughout by Owen.

In rehearsal Connor Carson (Thomas). Photo by Richard Smith.

This is a really thought-provoking play and one that could have you analysing the emotions and decisions of all these characters long after the play has ended. There are so many serious themes that the writer has tackled, such as mental health, grief, heartbreak, death, domestic abuse, suicide – Giles Allen-Bowden shies away from nothing and even manages to bring a few chuckles into the story. The play is also packed full of tension with sound effects and lighting that are very effective. The original music composed by Jonathan Fletcher is most enjoyable too.

Here's a glimpse into writer/director Giles Allen-Bowden thoughts, “Like many stories, this play came together at an ungodly hour of the night from a tapestry of ideas that all demanded to be explored at once. I wanted it to be a story of control and survival set amidst the Texan wilderness that I’d seen many times as a child. I also wanted to take the angel/demon on each shoulder dynamic but give these old archetypes more agency and psychological nuance. And I wanted to tell a ghost story that not only depicted but empathised with and gave voice to its ghosts.”

So, a play that requires your full concentration, but with the drama increasing by the minute, The Cage Protects Me will hold you captive - just as captive as Red, barricaded inside the church as the wolves are baying outside.

For tickets go to: https://lofttheatrecompany.com/performance/the-cage-protects-me/

 Or email boxoffice@lofttheatrecompany.com, or call 01926 830 680 (answer phone service).

To take advantage of the Loft’s free ticket offer for theatregoers aged 16-25, either book in advance by email or obtain your tickets at the Box Office on the night (please bring proof of age).