A Bold Examination of Faith and Trauma: Prophets Review | Ellen Leslie
Image credit: Giulia Ferrando
Content warning: this review contains references to sexual assault. If you require support, a list of organisations can be found on Zero Tolerance’s website.
★★★★
Written by Jack MacGregor, Prophets is a psychological thriller exploring the intersection between religion and cults. When researcher Kerris (Rebecca Wilkie) arrives on the tiny island of Saint John, she finds the residents are all part of the same religion, which is led by a mysterious prophet. Joe (Xander Cowan), the first person she meets on the island evades her persistent questions about it, which makes her determined to find out more. Her search for answers leads her deeper into the religious sect, and she is forced to confront her own traumatic memories.
Both actors are convincing in their roles. Cowan switches between different roles effortlessly, smoothly transitioning from socially awkward Joe, who isn’t used to visitors on the tiny island, to Kerris’ boyfriend, concerned for her safety. Wilkie is a multi-faceted performer, effectively showing how confident and bubbly Kerris becomes more subdued and vulnerable as her memories consume her.
The play talks about sexual abuse, which is not immediately obvious from reading the play’s synopsis. The subject is handled sensitively, and MacGregor steers away from detailed descriptions. There is more focus on the different ways that it can impact a person. Joe is able to move on with his life and forge a new career, while Kerris is haunted by the fact that her abuser died, and she was unable to get the justice that she craved. The juxtaposition is powerful, demonstrating that there is no right or wrong way for a survivor to act, while further highlighting that sexual abuse happens to men too.
The performance area is small, but its setup is intriguing. A white tarpaulin is draped over plastic garden chairs, while the room is filled with smoke. It creates a foreboding, creepy atmosphere, showing that everything on the island isn’t as it seems. The actors use torches in various ways, which further adds to the unsettling atmosphere. Putting it in front of them illuminates their faces to show that Kerris is video calling her boyfriend, while red lighting is used when Karris visits the prophet, making him look evil and menacing despite his fragility.
Prophets feels almost like a longer play that’s been trimmed down. Some scenes and storylines feel rushed, particularly in the case of Kerris and her boyfriend. The tension in their relationship isn’t fully explained: Kerris’ memory of coming home from a trip feels random, and it’s not clear why he doesn’t say he loves her back. More time would allow these issues to be fully explained, and better integrated within the main plotline.
Overall, Prophets is a strong concept that raises profound questions about religion, trauma and the need for justice. It is a show that I can see succeeding on a bigger stage after the Fringe. If you want tickets be quick: they have already sold out most of their run.
Prophets will run at Assembly Roxy – Roxy Boxy until 31 August as part of Edinburgh Fringe.
By Ellen Leslie
