Despite its title, Skye: A Thriller is not quite the edge-of-your-seat experience one might expect. Ellie Keel’s playwriting debut, presented by K Media and Summerhall Arts, is a visually arresting and thematically ambitious piece that ultimately struggles under the weight of its own complexity.
Set against the haunting backdrop of the Isle of Skye, the story centres on Annie, who recounts a childhood holiday in 1995 during which she and her siblings believe they saw their deceased father standing on a beach. This eerie premise hints at a ghost story or psychological mystery, but the production quickly veers into more grounded territory, becoming a fragmented family drama that never quite settles into a clear narrative form.
The structure is intriguing but muddled. The play unfolds as an interview, with Annie speaking directly to camera while her close-up is projected onto the back wall. This device is initially effective, creating a sense of intimacy and unease. However, the identity of the interviewer is never clarified, and the purpose of the interview remains elusive. The actor playing the interviewer also takes on various roles within the family, often without clear transitions, which adds to the confusion.
Design elements are a highlight. A table filled with black sand and toy cars becomes a clever visual motif, used in conjunction with the camera to create striking imagery. The sound and lighting design are slick and atmospheric, contributing to the production’s eerie tone even when the plot loses its way.
The cast deliver committed performances, navigating the shifting timelines and roles with skill. Yet the play’s refusal to clearly delineate its characters or time periods makes it difficult to fully invest in the emotional stakes. The ghostly silver car glimpsed by the children, a compelling image early on, is never fully explained as the story pivots to more conventional themes of grief and memory.
There is an interesting story buried within Skye: A Thriller, but it is obscured by an overambitious structure and a lack of narrative clarity. Still, Keel’s debut shows promise, particularly in its visual storytelling and thematic ambition.
