Luke Norris’s ‘Untitled’ Play Delivers Harrowing, Yet Hopeful, Portrait of Loss
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A powerful new play at the Royal Court Theatre confronts the complexities of pregnancy loss with unflinching honesty and surprising humor. Luke Norris’s work, which began performances this week, is already being hailed as a standout production, marking a significant moment in the theater’s 70th anniversary season.
The play, deliberately stripping its central couple and their unborn child of names, plunges into the depths of grief within a marriage. However, it transcends simple tragedy, offering a nuanced exploration of love, anger, and the enduring human spirit. The production immediately establishes its emotional weight with trigger warnings handed to audience members upon entry.
A Relationship Forged in Contrasts
The narrative centers on a couple in their thirties navigating the agonizing uncertainty following a 20-week ultrasound. Their dynamic is defined by a “sparky kind of contrariness,” with the female character, portrayed by Rosie Sheehy, described as “clever, ferocious, always up for a fight.” In contrast, her partner, played by Robert Aramayo, employs humor and even poetry – despite her often dismissive reactions – as a means of connection.
Their dialogue is presented as intensely energetic, “ricocheting, fast and furious,” mirroring the emotional turmoil they experience as they await crucial medical results. This initial scene establishes a compelling intimacy, hinting at the deep bond that will be tested by the unfolding events.
Confronting Unimaginable Choices
The play doesn’t shy away from the painful realities of difficult medical decisions. Following the initial diagnosis, the couple is forced to grapple with “terrible choices” surrounding the birth of their baby. According to reports, Sheehy and Aramayo deliver “explosive performances,” skillfully portraying the raw intensity of their characters’ emotional journeys.
One character poignantly asks, “Are we at the bottom yet?” encapsulating the despair and uncertainty that permeate the story. Despite the darkness, the play maintains a captivating quality, ensuring audiences remain fully invested in the couple’s plight.
A Playwright’s Evolution
Directed by Jeremy Herrin, the production seamlessly shifts between moments of “savage” conflict and “tender” intimacy, showcasing a sophisticated understanding of grief’s multifaceted nature. This latest work from Norris, previously known as an actor, builds upon the promise demonstrated in his 2012 play, Goodbye to All That, staged at the Royal Court. This new production solidifies his reputation as a playwright of considerable “depth and flair.”
The play also incorporates elements of the surreal, with “plot twists” and a “mystical element” that explores themes of mortality and the possibility of other worlds. This adds another layer of complexity to an already emotionally resonant narrative.
Striking Staging and Visceral Emotion
The production’s visual impact is heightened by a strikingly dynamic set design by Grace Smart. Utilizing blackouts between scenes, the stage transforms rapidly, shifting from a hospital room to the couple’s bedroom or a would-be nursery, enhanced by the “dazzling lighting” of Jessica Hung Han Yun.
The couple’s confrontations are described as “visceral,” with dialogue that fearlessly addresses the unspeakable. One character declares, “Sometimes I hate you,” while the other expresses a desire for the other’s death. Yet, amidst the anger and tears, the enduring power of their love remains palpable. This is a profoundly moving experience, offering “100% heart, 0% sentimentality.”
What a start to the Royal Court’s 70th anniversary season. What an emotional tour de force.
