And No More Shall We Part @ Traverse

It is difficult to say what is most remarkable about Tom Holloway's new play. There is the writing, which manages to articulately address a topical societal issue while never wandering into the didactic and in fact overflowing with genuine pathos. There is the set design, which I initially thought a gimmick or novelty, but by the end felt not only was an innovative way to stage this story, and actually extended the reach of its emotional resonance. We also have two actors at the peak of their powers; restrained, measured, visceral and emotive with consummate skill.

Not only does the show comprise these perfectly executed aspects, but they all work symbiotically to bring forth an intelligent, frightening and ultimately heartbreaking spectacle. This is a play about assisted suicide. It is the story of older couple Don and Pam and their battle dealing with the final months of the latter's terminal illness and subsequent decision to take her own life.

It is told in vignettes that are presented in either the kitchen or the bedroom; both sitting atop a circular revolving platform with a single door that changes purpose depending on the scene: in a moment such as the scene change between an episode from the kitchen and a return to the hours after Pam has requested to be left alone to die, the platform revolves to reveal Don has moved his bedding just outside the room. He lies motionless with one hand raised and pressed against the door, vainly trying to respect his wife's final wish and yet also remain with her. Small, poignant moments like this are used just the right amount and punctuate the emotional turmoil neither character can truly articulate.

One of the only areas where the production falters is in the choice to use a reworked version of The Turtles' Happy Together between scenes. The song ties into a particular memory Pam recalls but feels somewhat heavy-handed and mismatched. Perhaps just an instrumental version would have served as well and still filled the gaps in which the lights go down as the platform revolves and the scene is changed.

The performances of Bill Paterson and Dearbhla Molloy elevate what would already have been an excellent production to rare emotional heights. Paterson in particular shines as he valiantly struggles to come to terms with his wife's impending death and her decision to prematurely induce it. In the moments where his stoicism falters and he becomes enraged or overwhelmed with sadness his dialogue becomes a stuttering thing of repetitions and prolonged silences. It is as if the weight of what he is dealing with has rendered speech redundant; no language could express his feelings.

This is a deeply domestic story that adroitly manages to capture the emotional complexities of a controversial and divisive issue. Holloway manages to contain so much true of family, relationships, loss, dignity, ageing and death within the interactions of these two characters and the technical and performative skill make And No More Shall We Part unmissable.