Sorcha Kennedy stars in the UK première of Scarlet Sunday written by James Alston. Scarlet Sunday is Alston’s debut play, the two hander delves into the struggle to reconcile great works of art with the actions of their creators.
Imy Wyatt Corner directs Camilla Aiko and Sorcha Kennedy, with set and costume design by 2021’s Linbury Prize Winner, Cat Fuller. The creative team is completed by Catja Hamilton (lighting design) and Odin Orn Hllmarsson (sound design).
Scarlet Sunday opens at Omnibus Theatre on 1 March 2024, with previews from 28 February, and runs until 17 March 2024.
You’re starring in Scarlet Sunday at Omnibus Theatre, what can you tell us about this new play?
It’s a piece of brilliantly crafted writing – taut as a bowstring – which pokes around in the knotty questions surrounding art and its idols, via the meeting of two very complex women, whom we meet in a cafe as strangers attempting to connect. It looks at how we excuse in the name of creative genius. There’s nothing didactic about the play but it certainly doesn’t shy away from difficult questions. If I’ve made it sound heavy, that’s not the case – there are many moments of gorgeously unforced humour too.
What was it about James Alston’s Script that made you so keen to be part of the production?
It was a wonderful first impression, to be honest – I was so surprised when I discovered it was a debut play. James’ dialogue just flies off the page. I devoured the script and was laughing to myself within minutes, which is rare. He toys with rhythm beautifully. The verbal tennis tournament between YASMIN and AVA can flow sublimely and jar horribly in the most delicious way. As I read on, I loved his handling of the unseen and unspoken. When touching upon heavier themes, there was nothing gratuitous. Everything is loaded, nothing spare. Currents churn under mundane chatter. Plot emerges from character and that’s always my favourite kind of writing.
It’s a two-hander, what’s the biggest challenge for you as an actor with this kind of play?
Working opposite Camilla has been a treat but it’s certainly intense. Our characters begin this play as total strangers so there’s always an imminent threat of someone simply walking out the door. All the machinations that keep us locked in with each other are subtle, and we really, really have to attend to detail to get to where the play must eventually go in a way that feels honest. Imy directs with delicacy and in really fine detail, so no moment is superfluous. We spend the piece prowling around each other, so it does feel like we’re working under a magnifying glass. It’s a wonderful challenge.
You’re playing Yasmin, what do you love about this character?
Love is a funny word here… Because I don’t think Yasmin loves Yasmin to be honest! But I love playing her and I’m enjoying getting in the head of someone who pushes harder than I ever could to sink her teeth into what she wants. If I met her in a bar, would we hit it off? Honestly, I would be concerned if we did. But that’s the juiciest challenge for an actor – stretching those empathy muscles to extend beyond your internal ecosystem. She scares me. It’s a testament to James’ writing. I feel her striving, her need to mask and front. She’s delightful at her core, capable of childlike wonder and exuberance. But her blinkered ambition and idolatry blind her to the ethical implications of her actions and it’s deeply uncomfortable because she’s always utterly convinced she is doing the right thing.
What would you say to anyone thinking of booking to see Scarlet Sunday?
Don’t hesitate. It’s such a brilliant creative team, I know it’s going to be such a feast for all senses too. Book an extra ticket. Chew on the questions together in the very gorge bar after the show. Can’t wait to see you there!
