Blink @ The Traverse

In truth Blink feels closer to an indie romcom movie than any other theatrical reference point. A good indie romcom though; something like Eagle vs Shark, or a Wes Anderson film. The latter especially in the exuberantly colourful, symmetrical set design, giving the whole thing a slightly fantastical and unreal feeling perfectly suited to the story.

At the start the strange, blossoming relationship of Jonah and and Sophie is narrated directly to the audience from behind the separate desks they occupy. We learn of their differing, yet equally lonely existences and the tragi-comic events that have brought them together. Blink transitions between its two main tones adroitly; at one moment funny and whimsical and the next serious and reflective, it feels comfortable dealing with either and the writing is such they rarely jar.

As the story progresses so does direct interaction between the two, coupled with innovative use of props and technology. Seemingly inconsequential aspects, such as the autumnal lightbox backdrop begin to take on new significance as the show unfurls and reveals the depths of its musings on love and loss.

Charming is perhaps the most appropriate way to describe Blink. There is a recognisable truth in the isolation these characters feel dealing with the quiet, personal tragedies of their lives and the yearning for human connection they engender. Yet the whole thing remains somehow light and accessible, filled with laugh-out-loud moments and a disarming honesty. This is in no small part due to the excellent performances of Harry McEntire and Rosie Wyatt as the two leads. A well-executed production that largely succeeds in all it attempts and reveals its depth by degrees.