Two years ago Gary Owen’s Violence and Son viscerally suggested the damage that can be passed down through male generations. Now he has produced a fierce three-hander that shines a different strong light on the same subject. Summarise Killology and it may sound narrow and opportunistic. It centres on a murderous new gaming experience in which players are rewarded for their “creativity” in torturing someone. But that ingenious wheeze is not the main point. What is at stake here is the lack of understanding between fathers and sons. Male relationships – as opposed to their power play – are currently getting some deserved dramatic scrutiny. More is due next month in Fatherland at the Manchester international festival.
Rachel O’Riordan’s exemplary, clenched production premiered at the Sherman theatre, Cardiff, where O’Riordan is proving a dynamic artistic director. Gary McCann’s design makes the stage a place of small hills, like coils of black worms, both slag heaps and electronic tips, with a dangle of cables overhead. Three men tell their stories in dark blurts. Richard Mylan, trim as a bullet as the game-player. Seán Gleeson, restrained and powerful as the father about to avenge his son. Sion Daniel Young, totally compelling as a damaged boy whose mouth slides around his face like a butterfly trying to escape a net. All cheated, all watchful, all trapped.
