Set in medieval Sweden, The Seventh Seal is a play about plague, crises of faith, torture and visions. The plot itself is a demanding mess of juxtapositions; it uncomfortably oscillates between reality and dream states, solemnity and revelry leaving us bewildered and shaken.

I think it is important to note the sheer aesthetics of this production, above everything, which made it such a visual indulgence for the ADC audience this evening. The play has a rare photographic quality, there were moments when the stern pale faces of the actors combined with perfectly timed pauses created snapshots of dramatic intensity.  

The Seventh Seal featured strong and consistent acting. Justin Blanchard wore his character ‘Jof’ (an actor) with an endearing grace; his role demanded a mixture of the understated ‘half-wit’ and the ostentatious stage performer both of which he slid between with ease.  Similarly, Edward Eustace (playing Raval the hypocritical theologian) provided facial contortions and consumptive stage-sprawling which are now undoubtedly branded on the audience’s memory.  Eustace is delicious to watch, he hurls himself into passions with such vigour that the stage barely contains him.

The tech and set design behind this production felt natural and swift. Images of trees and stained glass windows floated behind the actors whilst the lighting also accommodated for the strange mingling of the intimate fireside scenes with the terrifying emergence of the self-flagellating ‘slaves of sin.’

I don’t think this play was easy, but it was clearly performed and nurtured with passion. The production is consuming; evoking a surrealist quality and a faint sense of disorientation as the audience must negotiate through the conflicting registers and themes at work within this complex and stimulating performance.