Even though Eli is several hundred years old she has the body of an immature girl.
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The sexual overtones between her and Harkan are disturbing to say the least. As the story unfolds, our perceptions change and Eli shows her true nature.
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She has an old and very manipulative head on young shoulders, and her kitten-like helplessness comes with fangs. For her directorial debut with the company, Watson has teamed up with Bruce McKinven designer and Richard Vabre lighting to create a visually stunning, three-storey set that supports the isolation and loneliness of the main characters.
There are excellent performances particularly from the young cast members. Both are comfortable in their physicality and navigate the demanding set with ease. Forrest is also exceptional and exhibits the movements of a gravity-defying vampire with grace and agility. The other members of this ensemble cast completed by Stuart Halusz and Maitland Schnaars put in fine performances in multiple roles, making the most of their function to move the story along with minimal character development.
This is perhaps the result of taking a novel-cum-film and making it into a play. The scenes are all relatively short and jump across time and location; they are framed around physically dramatic action, making the dialogue seem quite sparse; and the coming and going of many minor characters. The constant sliding to and fro of the nine screens to reveal a new scene is at times slow, and becomes predictable despite attempts to disrupt this with projections, music and occasional choreography.
Blood on the stage: Let the Right One In is a vampire love story for our times
The contained spaces work well for the claustrophobic rooms of the apartment block, but the set loses the isolation of a town surrounded by a wild forest. Sitting near the front of the stalls my view of the upper levels was not ideal and occasionally the onstage lighting was blinding.
Nonetheless, this is a fine debut for Watson and demonstrates a bold vision for the company she now leads. Her previous experience is varied but her work in theatre for young audiences has served her well here. The troubled relationships of the young characters are touching to watch, and their energy and emotional lives on stage are captivating.
Let the Right One In.
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