Review: A Song for Ella Grey (Touring)

Wednesday, 22nd February 2024 at York Theatre Royal.

⭐️⭐️⭐️⭐️

There’s something about Greek mythology – and more specifically Orpheus – that continues to grab creatives and audiences alike. Just in recent years, we’ve had Testament’s Orpheus in the Record Shop, Rambert’s Death Trap, Ben Haggarty’s Orpheus Dismembered and Anaïs Mitchell’s Hadestown, and interest in this character and his story remains steadfast. There’s good reason for this of course: it’s a great story full of peril and longing, devotion and foolishness – all of which run through Pilot Theatre’s latest offering, A Song for Ella Grey.

Zoe Cooper adapts David Almond’s novel which merges ordinary teendom with epic Greek mythology and sees a group of spirited teenagers navigate school, friendship, romance, disappointment and death, all in the shadow of Orpheus who arrives on the scene very suddenly one day to shake the foundations of these young lives. There are times when clarity could be better as we work to keep up with the role and influence of this Orpheus, but the cast carry the challenge well. Ultimately, Esther Richardson’s direction offers a production which feels more challenging and stylised than previous Pilot Theatre productions, and it’s a great cast leading the way.

Olivia Onyehara bursts into life as the force of nature that is Claire. A poet, a rebel and a fiercely devoted friend nurturing deeper feelings, Onyehara gives Claire great buoyancy while also beautifully capturing the sharp tongue of a teen in turmoil. And the eponymous Ella Grey, object of Claire’s devotion, is a delicate character and a quiet influence within her friendship group, played by Grace Long. Long does a brilliant job of giving Ella a sense of lingering departure with her movement – hovering where others pelt around or moving through the space with gentle grace.

Amonik Melaco’s amorous Sam is charismatic and playful, and Melaco demonstrates his comic flair best when playing a defensive and lairy teenage girl. Jonathan Iceton’s Jay is another quiet presence, drawing attention to those who don’t easily get swept up in the love and lust of teendom – and Iceton has great dexterity as he shifts between more spirited characters. Beth Crane plays the mischievous Angeline but is a real chameleon here, moving between a variety of characters and voices with thoroughly engaging precision and bringing plenty of comedy to the piece along the way – she’s definitely the stand-out here.

Set in Newcastle and conjuring coastline, classroom and canal path with poetic narration, the production takes great pains to paint pictures with words but also makes excellent use of Si Cole’s evocative video designs. Our stage remains set though, with a series of white platforms which transform to black for Act 2 which takes us to the underworld. It’s with the hidden alcove and use of dramatic curtains which allows real appreciation of Verity Quinn’s set design, offering pleasingly dramatic visuals, while Emily Levy’s compositions (with music performed by Zak Younger Banks) are at their most impactful when our cast launch into haunting harmonies in the underworld.

Pilot Theatre once again bring us an affectionate and entertaining study of what it means to be young with A Song for Ella Grey, this time offering a family-friendly show with a little more overt darkness and some stylish layers.

A Song for Ella Grey is at York Theatre Royal until February 24th, 2024 – more information and tickets can be found here.