Written by Milly Sweeney
Directed by Sally Reid
Review by Dominic Corr
Written by the benchmark of the future of Scottish writing, Milly Sweeney – whose phenomenal debut previously scooped the prestigious St Andrews Playwriting Award alongside a Stage Debut Award and a Critic’s of Theatre in Scotland Award – Water Colour serves as a searing, profoundly humane examination of youth, mental fragility, and unexpected human connection. And when it’s return to stages, with a full run at The Edinburgh Festival Fringe at The Traverse Theatre was announced, there was a hope for those who didn’t catch the limited run. And an additional opportunity to prove that the show was, is, and will continue to be something extraordinarily refreshing in stripping back pretentious theatrical posturing which is precisely why The Byre Theatre, with Pitlochry Festival Theatre and Traverse show lands with such a devastating blow.
Operating on a familiar landscape, this intimate two-hander follows two young Glaswegians moving along parallel tracks of isolation, completely unaware of each other until a single, life-altering moment on a bridge over the Clyde forever shifts their trajectories. What begins as a modest, hyper-focused character study rapidly expands into an exploration of societal resonance, reminding us that the briefest gesture of kindness between strangers can ripple outward with world-shattering force.
And in that, sometimes, the greatest stories we weave are the ones which happen next door. The ones which could, and have, and may, happen to you or I. That’s the brilliance in Sweeney’s script; two people who collide in a crossroad of their most desperate moment, a story which speaks to all of us, without the global threats at stake. But these ripples on the water are a way to heal those ‘bigger’ issues.
Confronting the crushing darkness of despair with astonishing responsibility and insight, Sweeney’s script relies on two versatile performers to navigate its mirrored emotional terrain; Molly Geddes’ Esme delivers a devastatingly moving performance as a Queer art student drowning in social anxiety, handling the delicate transition from complete psychological paralysis to cautious, tentative hope with immense grace. Opposite, Ryan J Mackay captures the heartbreaking inverse of that journey, evolving from a boisterous, ambitious young cook full of cheeky charisma into a deeply wounded soul beaten down by life’s quiet indignities. Beyond embodying their primary roles with ferocious authenticity, both actors effortlessly slip into secondary figures, adopting quick vocal shifts and subtle postural changes to populate each other’s worlds with protective mothers and harsh employers.
Balancing this delicate duologue requires a directorial hand capable of maintaining breathless momentum without eclipsing the writer’s raw vulnerability. Director Sally Reid orchestrates the production with exquisite finesse, pacing the interwoven monologues so that every moment of sharp humour lands just as effectively as the heavier emotional blows. The intimate staging brings the audience into uncomfortable proximity with the performers, ensuring that every tremor of a lip, frantic breath, and unspoken plea for help resonates across the room with thanks to Steve Lauder-Russell’s movement direction.
By stripping away grandiose spectacle, the staging amplifies the universal truth at the play’s core, proving that the most expansive, world-altering battles are often fought in the quietest, most vulnerable corners of the human mind. But don’t for a second think that the imagery, and visuals of the show are a letdown. The flourishes of colour, as few as they may manifest.
Capturing the overwhelming intensity of contemporary isolation while offering a genuine beacon of hope is no easy feat, yet this staggering piece handles the subject matter with unmatched empathy and wit, cementing Sweeney’s status as one of the most vital new voices in contemporary Scottish theatre. While the narrative structure forces a tight, relentless focus on its two leads, the universal scope of its message ensures the production lands like a sledgehammer to the chest. It stands as an essential, deeply affecting piece of theatre, leaving an indelible mark on the heart. Every good word you’ve heard is true; Water Colour is true poetic warmth.
True Poetic Warmth
Water Colour runs Traverse 2 at The Traverse Theatre until
Running time – Seventy-five minutes
Photo credit – Tommy Ga-Ken Wan
Review by Dominic Corr (contact@corrblimey.uk)
Hunter is a 2024 Master’s graduate of the University of Edinburgh and current doctoral candidate with a thesis focused on experimental theatre in Edinburgh. He has been a theatre practitioner for over a decade having worked in many capacities including as a director, actor, stage manager, front of house manager, and technician as well as others. Prior to moving to Edinburgh, Hunter was a high school English teacher in the United States. His passion for the written word as well as his passion for live performance are what motivated him to become a writer for this publication.
