Jodie Whitaker may be everyone’s new favourite female of the moment but my eye has been drawn to someone less well-known. In my second trip to the Roundabout Theatre in a week, a process of regeneration had seemingly taken place. Having taken my first steps into the pop-up theatre last week for the world premiere of Black Mountain, I had returned seven days later for another debut show. To my surprise (and delight), I found the same three actors from Brad Birch’s play starring again, this time in Out of Love by Elinor Cook. They had undergone a transformation which now saw Sally Messham and Katie Elin-Salt playing best friends Lorna and Grace. Hasan Dixon was now playing a host of male characters, showcasing his talent for versatility. However, it is Elin-Salt who has caught my undivided attention.
In Out of Love, Elin-Salt plays the lovably naïve Grace. Wearing a dungaree dress and plimsoll shoes, there is something eternally childlike about her character. Above all else, I think it is the expressive acting of Elin-Salt that conveys this with such success. She flails about on the floor, swings her legs up and down; her arms are constantly in motion, her shoulders slightly elevated; and her mouth seems to return to the default position of “slight frown” after every piece of dialogue. It is the intimate nature of this round theatre that allows the audience to pick up on such small details. This adds to the quality of the characterisation which, in Elin-Salt’s case, is near perfection.
The retention of her South Walian accent is a stroke of genius. Elin-Salt’s ability to utilise the musicality of her accent in order to convey such contrasting emotions is pure joy to the listening ear. In Black Mountain, she flattens its naturally-high pitch to express a degree of seriousness. In Out of Love, she emphasises it. This gives a comical edge to Grace that increases her likability. It also enables for the exploration of sex and sexuality. Not that this cannot be talked about in a serious way. However, Cook’s decision to examine it from the perspective of two female adolescents makes for a more naturalistic, animated and frank discussion.
There is also a vulnerability to Grace which Elin-Salt beautifully conveys – a deep desire for intimacy that hints at jealousy towards Lorna’s ability to pull men. For the supreme closeness of these two best friends, there is also a hidden tension. It is testament to the quality of Cook’s writing that this unspoken emotion never bursts onto the stage. Instead, it is veiled beneath some rather ambiguous words and actions. Through her performance, Elin-Salt manages to capture this ambiguity perfectly. She peels back the depths of Grace’s heart, ever so slightly, to subtly reveal her concealed motives. She manages to do this so imperceptibly that I could not help but burst with admiration towards the depth of her acting skills.
Out of Love is a suitably complex portrayal of female friendship. Elinor Cook presents an entertaining and engaging narrative featuring two female protagonists over some 20-30 years of their lives. Sally Messham gives an accomplished and controlled performance as Lorna. She does not put a foot wrong and perfectly complements her fellow lead. It is Katie Elin-Salt who wins much of the applause from myself however. Not excluding the above, her natural enthusiasm and depth of imagination make her an infectious talent. She weaves such fine complexity and depth of character into her performance. She is a delight to watch. She also makes a strong case for championing a great deal more female-led narratives. This is one reason to be excited at Whitaker’s casting. But whilst I await her arrival as the 13th Doctor, I shall revel in the discovery of another talented actress. Katie Elin-Salt is, surely, a major talent in waiting.
A Theatr Clwyd, Paines Plough & Orange Tree Theatre co-production | Directed by James Grieve