PPP: Contact
★★★☆☆ Spiky
Traverse Theatre: Tues 13 – Sat 17 Oct 2026
Review by Hugh Simpson
Emotional realism and excellent performances distinguish Contact by Jonny Donohoe, the family tragicomedy that is the latest Play, A Pie and A Pint at the Traverse. However, the production, from Òran Mór and OneRen, may not be entirely successful in dramatic terms.
A mother (Blythe Duff) is visited by her son (Mark Barrett) for the first time in eight months. We never learn their names; indeed, there is much about them that is left unstated. But it is clear that the relationship between them is strained to say the least, and a past in which the boy’s abusive father looms large has left them both damaged.
Mark Barrett and Blythe Duff in Contact. Pic: Tommy Ga-Ken Wan
Now, with the son about to become a father himself, he wants to repair their relationship before it is too late. But she seems keener on burning his childhood photos on a bonfire than she does on reconciling.
The play largely stays clear of clichés, easy answers and pat resolutions. The dialogue is spiky, penetrating, almost staccato, well observed and often funny. Duff is splendidly unsympathetic as the acid-tongued mother, who never seems to have a good word for anyone. Although she has stopped calling her son’s partner Alice ‘Malice’. To her face anyway. Barrett, meanwhile, is painfully believable as the son, and the portrayal of inter-generational trauma is convincing.
eschewing naturalism
The direction of Ben Standish is extremely interesting, largely eschewing naturalism for a more diffuse approach, sometimes impressionistic in its use of invisible props and of characters delivering conversations while resolutely refusing to face each other. This is echoed by Gillian Argo’s garden set, with an artificial lawn sloping past a solitary brazier up to a painted skyscape. Ross Nurney’s lighting is evocative and almost disturbing.
However, after establishing the characters and situation so cleverly, the play lacks dramatic impact. It starts to go round in circles, and while the lack of histrionics is commendable it does mean that there is never likely to be a satisfactory resolution.
Mark Barrett and Blythe Duff in Contact. Pic: Tommy Ga-Ken Wan
Indeed, Donohoe seems so unsure of how to end the play that in effect he does it twice. Neither of these endings really works, particularly when a more realistic approach to direction, set and props unexpectedly takes over. The occasional use of the two performers as other characters also comes across as a somewhat half-hearted and not entirely successful attempt to add variety to a slowing narrative.
There is still a great deal to admire about this play, however, with the commitment of the acting overcoming many of the structural problems.
2026
Running time: One hour (no interval).
Traverse Theatre (Trav 2), 10 Cambridge St, EH1 2ED.
Tuesday 13 – Saturday 17 October 2026.
Daily: 1pm.
Tickets and details: Book here.
Paisley Town Hall, Abbey Close, Paisley, PA1 1JF.
Tuesday 20 – Friday 21 October 2026.
Daily: 1pm.
Tickets and details: Book here.
Blythe Duff and Mark Barrett in Contact. Pic: Tommy Ga-Ken Wan
ENDS
