![](https://www.sardinesmagazine.co.uk/wp-content/uploads/2023/04/3-George-Jim-Dick-jpg.webp)
Show: The Incident Room
Society: Company of Ten at Abbey Theatre
Venue: Abbey Theatre
Credits: Olivia Hirst and David Byrne
Type: Sardines
Author: Samantha Cartwright
Performance Date: 24/02/2023
The Incident Room
Samantha Cartwright | 07 Apr 2023 08:06am
Photo: Jon Schick
This production of The Incident Room by Olivia Hirst and David Byrne is being performed by Company of Ten, originally formed in 1934 at The Abbey Theatre, their permanent performance space.
The Incident Room was first performed at Edinburgh Fringe in 2019, it then moved onto New Diorama Theatre, London, in 2020, ahead of a Broadway run. This play is partly real-life-based and partly social history.
It’s 1975 and West Yorkshire police are investigating a string of murders. With intense pressure from the public and the press to solve the case and end the trail of terror, the incident room in Leeds becomes the central hub for the search of one of the most notorious serial killers, the Yorkshire Ripper.
Before I arrive tonight I already know it will be a feast for the mind type of play, Company of Ten always provide thought-provoking and high-standard productions and with the rave reviews the script has had previously I am excited for what is in store.
The scene is set, we are in Millgarth Police station. The way it is designed and constructed – Cliff Stratford, is a stroke of genius. There is an open hallway to the back of the stage which is adding depth and creating a passage way between two rooms. The cast are walking back and forth creating a hustle and bustle atmosphere that you would expect in a busy incident room. The props, scenery and the whole layout of the stage are so realistic I truly believe we are looking into the window of a working Police station.
The investigation takes place over a long time period often skipping through the years. As we enter the mind of the main character, Megan, she not only reminisces, she day dreams, wanting the outcome to be different to how it may have been. It is executed so well though that it is abundantly clear of what is fact and what is fantasy. Every action appears to be so well thought out and deliberately directed – Tina Swain. In keeping with the movement needed to create such an intense, busy ambience, the cast are clearly directed and rehearsed rigorously. Allowing us the audience to enjoy the free flow of conversation without confusion.
The cast are strong and even with a serious plot manage to deliver humour at points which is welcomed. Katy Robinson (Megan) is our main focus throughout and she delivers a stunning performance, although Megan is a strong willed woman we are invited in to witness her vulnerabilities, her struggles being female in a male dominated workplace in that era and this is portrayed really well. Roger Bartlett (Dick) offers light and shade with his character, he is almost the glue holding it altogether, a secure presentation and an abundance of stage presence from this actor.
Even with the play containing such sensitive subject manor, important messages are being delivered without lectures, without it feeling overbearingly political. The woman Police officers are over looked, good for typing and making tea although most of the time they are essential in their roles in the investigation. The victims are not considered important as they are prostitutes, the case only becomes a priority when a young girl gets murdered who isn’t a prostitute, she becomes the first ‘real’ victim according to the Police. This play shows that if all of the victims were considered people, as humans from the start and if the higher powers that be running the investigation took the opinions of everyone on their team, not just the men, this case may have been resolved a lot sooner and without as much loss.
A thought-provoking play provided by a talented production company.