Review: Lighthouse, Courtyard Theatre *** ½

Review: Lighthouse, Courtyard Theatre

Lighthouses have always occupied a unique, almost mystical, corner of our collective psyche. They are symbols of safety and steadfastness, yet they are also synonymous with the most profound isolation. When Wilkie Collins collaborated with Charles Dickens on their 1855 play, The Lighthouse, Collins noted that “these keepers lived on an utterly bleak rock, at the mercy of the elements, for all regular communication with the main land, that is to say, for all contact with the rest of the world and for the renewal of provisions essential to their survival“. He felt this singular situation was full of potential for a dramatic situation never before exploited.

That potential remains just as potent today. From the real life disappearance of the Eilean Mor keepers in 1900 to the legendary heroism of figures like Grace Darling, the lighthouse reminds us of the precarious line between the safety of the light and the danger of the waves. There is something inherently theatrical about three people trapped on a pillar of stone, surrounded by a grey, unforgiving sea.

It is this rich history that Early Doors Productions taps into with their latest touring production, Lighthouse. Written by Justin Cartledge, the play is a taut, atmospheric piece that manages to be both a gripping mystery and a sensitive character study. It won the Carol Tambor Incentive Award at the 2022 Edinburgh Fringe and was listed by The Herald as one of the ‘Top 20 Must-See Shows of EdFringe 2022‘.

The narrative introduces us to Morgan (Justin Cartledge), Mac, and newcomer James: three keepers whose differing temperaments provide the friction required for a slow burning drama. We quickly learn that they are not merely there for the employment; each man is nursing his own specific post-war pain, using the remote station as a sanctuary to escape society. However, their sanctuary is shattered when the play presents them with an irresistible temptation. This catalyst transforms their shared isolation into a breeding ground for suspicion, making them doubt each other’s motives and pasts just as the external storm begins to rise.

The production relies on a strikingly simple set, consisting of little more than a table, chairs, a hat stand, and the modest domesticity of tea cups and bowls. However, this minimalism is its strength. By stripping away visual clutter, the production forces the audience to lean into the darkness. Combined with a meticulous soundscape that makes the presence of the storm feel like a fourth character in the room, the staging successfully evokes a sense of height and circular confinement through atmosphere alone.

However, the evening I attended was marred by a physical danger that was no fault of the creative team. The venue flooring was noticeably loose in one area, leading to a moment of genuine concern when one of the actors slipped, not once, but twice. It is a testament to the professionalism and dedication of the performer that he never let the mask slip. While it is always a joy to see fringe theatre in intimate spaces, it is vital that venues maintain their facilities to ensure the safety of the hardworking professionals who bring these stories to life.

Despite these external frustrations, the production is a strong 3.5 star show that offers a great deal of insight into the lighthouse keeper’s life. It is a pleasurable, if chilling, way to spend an evening, reminding us that while technology has changed the way we navigate our shores, the human response to solitude remains as complex as ever. Early Doors Productions have crafted a piece that respects its historical roots while delivering a very modern sense of dread. It is well worth catching as it continues its journey across the UK until August.

[Thank you to Early Doors Productions for a gifted ticket for an honest review.]