Edinburgh’s Royal Lyceum and the Pitlochry Theatre have teamed up to present a brand new season of eight audio plays in association with Naked Productions, on their brand new audio-digital platform Sound Stage. Opening the season is Angela, a new autobiographical piece by Mark Ravenhill.

Aged 84 and suffering with dementia, Angela looks back over her life and the experiences that shaped her: from finding her community within amateur theatre, her relationship with husband Ted, to motherhood, her struggles with depression, and adjusting to a new way of life with her memory failing her. This is intercut with Ravenhill’s own journey to pursue a lifelong passion of learning ballet in his fifties.

The context at times makes the play a difficult, emotionally charged listen, especially in the latter stages as Angela’s deteriorating memory leads to heated conversations with her husband and those caring for her. However, the strength in Ravenhill’s writing is his ability to temper these darker moments with warmth and humour; talking about her courtship with Ted, or her love of walnut cake, for example.

The piece is also striking in the way it explores the lens of Angela’s dementia and her relationships, especially with Mark, through different cultural experiences. Children’s literature, amateur dramatics, ballet and popular song all feature and play an integral part in shaping Angela’s identity in a way that’s charming, relatable and endearing.

An audio play brings with it a specific set of challenges because you are without set or any of the other visual markers of traditional theatre making, and are solely reliant on voice and soundscape to create atmosphere and help bring the characters to life. Angela rises to the challenge admirably. John Scott’s sound design encompasses everything from pouring tea, doors opening, singing crowds and telephone calls that help conjure time and place easily, and thus keeps us engaged and invested in these characters and their stories. 

The score by Alexandra Faye Braithwaite is incredibly atmospheric, bringing certain moments into sharper focus. Polly Thomas’ direction showcases a skilful touch, guiding listeners through Angela’s past and present seamlessly, and bringing the best out of the assembled cast. And what a remarkable cast we have, some of whom double or triple up in various roles, yet manage to make each distinct and memorable; Olivier Huband and Alexandra Mathie in particular. At 95 minutes, it packs a lot emotionally into a relatively short time, but the action feels nicely paced. 

In terms of the central cast, Toby Jones is charming as Ted and Joseph Millson shines as Mark, though he appears sparingly. His scenes are the ones that stay with you long after the play ends, most notably his Saturday visit. Anchoring it all though is Pam Ferris on brilliant form as the elder Angela, by turns charismatic and sharp tongued, yet beautifully nuanced and tender as she struggles with her memory.  

Raw, tender and poignantly observed, Angela is a piece that explores life, family and those moments that shape us, skilfully executed.

**** Four stars

Reviewed by: Kerrie Nicholson

Angela streams from 26 March-2 April. For more information and to book tickets, please click here.