Philip Ridley’s Tarantula, now playing at the Arcola Theatre, comes to the stage following its successful streamed version in 2021. Just like The Poltergeist, which also enjoyed a run at the Arcola, this play proves that Ridley’s work is even more potent when experienced in person.
The play opens on a deceptively sunny day in East London, where we meet Toni, brilliantly portrayed by Georgie Henley. Toni is one of those happy-go-lucky kids, all too ready to volunteer, and in this instance, it’s serving coffee and sandwiches to the residents of a old folks home.
It’s here that she meets a boy, the mere mention of his name renders her literally speechless, and a first date is quickly arranged. But as is often the case with Ridley’s plays, nothing is quite as it seems, and tragedy soon ensues. What begins as a seemingly innocent first kiss quickly spirals into a web of shocking revelations and psychological twists.
Tarantula is a mesmerising exploration of identity, memory, and the human psyche that leaves audiences spellbound. This is a monologue and Henley’s performance is nothing short of extraordinary, carrying the 90-minutes with a raw intensity that keeps the audience gripped, and never quite sure what might be coming next.
There are several characters, ranging from Toni’s family, to the people who will ultimately have the biggest impact on Toni’s life. Henley does a remarkably good job of making each of them feel distinct without taking too much away from the rawness of the monologue.
Ridley’s script is a masterclass in storytelling, weaving together themes of trauma, love, and the struggle to break free from one’s past. The playwright’s signature style of blending the mundane with the surreal is on full display here, creating a sense of unease that permeates Wiebke Green’s entire production. Adding to this are uncomfortable pauses and the absence of a fourth wall, making it all a very intense experience.
One of the most striking aspects of the play is just how simple the staging is. With no set it falls to Ciaran Cunningham’s lighting design to create Toni’s world. At times bright and intimidating, at others just a spotlight, this visual element perfectly complements the psychological landscape of the story, enhancing the audience’s sense of disorientation and unease.
The direction by Wiebke Green is taut and precise, allowing Henley’s performance to shine while maintaining the play’s relentless pacing. While the play’s subject matter can be challenging at times, it’s handled with sensitivity and nuance. The production doesn’t shy away from difficult topics, instead confronting them head-on and forcing the audience to grapple with uncomfortable truths.
Tarantula does lack the tight narrative thread that we saw in The Poltergeist, instead it veers off in unexpected and sometimes confusing directions. Toni becomes an unreliable narrator and as an audience we’re never quite sure where we are or why we’ve got there. Towards the end, Toni’s pain and hurt is masked by a smile so big that it threatens to engulf her, the mask rarely, if ever, slips and that leaves us all guessing.
Tarantula is haunting and thought-provoking, showcasing what Philip Ridley, and this creative team, are capable of. Wiebke Green has developed an expertise in directing Ridley’s work, and alongside Georgie Henley’s magnificent performance, this is theatre at its most powerful.
Tarantula is at the Arcola Theatre until 25th January
