The Bounds, Royal Court Theatre Review
Soroosh Lavasani, Ryan Nolan and Lauren Waine in The Bounds. Photo by Von Fox Productions.Written by Cathie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review.
"Let’s all tonight then drink with me, to the football game we love,” is the roaring cheer that opens The Bounds at the Royal Court Theatre. We are greeted by medieval peasants Percy (Ryan Nolan) and Rowan (Lauren Waine), who eagerly await the start of the yearly match, proudly declaring it time to revisit England’s true golden age of football. Not 1966 with Bobby Moore, nor the heartbreak of the 2010 World Cup—this play unfurls in the authentic golden era of 1553, where the villages of Allandale and Catton in rural Northumberland compete for glory in Whitsuntide. With goalposts set over a mile apart, these matches often lasted for days. The absence of rules oft turned them into chaotic bloodbaths, and we are gleefully regaled with tales of gruesome endings, including a player drowning on dry land. Yet, it is evident that this event is one of the year's most significant celebrations for these two villages.
The audience, however, accompanies Percy and Rowan to a bleak spot in the middle of the forest, quickly realizing they are not strong players. The set, an unassuming patch of forest grass and mud, is revealed to be full of surprises. This intimate setting, along with the small theatre space, effectively conjures the eerie, ineffable atmosphere the play relies on, enhancing the sense of remoteness. The unnerving ambient sound design by Matthew Tuckey sends chills down the spine throughout.
Written by Stewart Pringle and directed by Jack McNamara, Percy and Rowan’s dialogue is superb, reflecting both modern football arguments and the unique speech patterns and mannerisms of their Tudor time. Nolan and Waine exhibit fantastic chemistry, frequently making the audience chuckle with their witty banter. Everything changes with the arrival of Samuel (Soroosh Lavasani), the Oxford-educated son of the local squire. His elegant black silk attire sharply contrasts with the peasants' simple clothing, and his demeanour is both arrogant and innocently vulnerable. His intense staring and arrogance is played brilliantly by Lavansani and his driving forward of the plot is completed with a delicate and precise touch.
Although football seems to be the play’s central theme, the interactions between the three characters soon reveal it to be a mere Trojan horse. With creeping intensity, the play delves into deeper conversations about the clashing wars between Catholics and Protestants, the zealous boy King Edward VI, his dismantling of monasteries, and the enforced “changing of the bounds” that redefined village identities. These themes are vividly portrayed alongside discussions of scolds' bridles and horrific visions of four-headed lambs.
While the play is highly nuanced and raises many excellent points, it occasionally loses cohesiveness as the story progresses. The multitude of concerns presented can feel muddled. The folk horror elements, though interesting, do not significantly contribute to the plot. However, as a born and bred Londoner, I might not fully appreciate these rural tales as a rural audience might. The play is sharply timed at 80 minutes without an interval; extending the running time could allow for a more cohesive focus on these elements.
Overall, The Bounds is an excellent, thought-provoking play, perfectly timed for both the current Euro football matches and the upcoming general election. If you enjoy football-based banter, mildly chilling rural folk horror, and reflections on how the powerless often bear the brunt of wars and injustices, I thoroughly recommend this play.
At Royal Court Theatre until 13 July
☆ ☆ ☆
