John Hollingworth in Reykjavik [Mark Douet]

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IN his latest play, Richard Bean returns to the harsh world of distant-water trawler fishing that we first encountered in his 2005 hit Under the Whaleback.

Set in February 1976, Reykjavik is a drama of two distinct halves. In the first act we meet trawler-owner Donald Claxton (John Hollingworth) in his Hull office. University educated, he names his trawlers after famous authors.

One of his fleet, the sidewinder Graham Greene, has sunk off the coast of Iceland taking 15 crew with her.

Claxton’s dad (Paul Hickey) passes by to advise his son how to conduct himself during the “widows’ walk” – he must visit each and every one. The same afternoon, Claxton sacks a skipper (Adam Hugill), ostensibly for a poor haul, meets Lizzie (Laura Elsworthy), the wife of one of the survivors, and the vicar (Matthew Durkan) to discuss the memorial service for the lost men.

In the second part, Claxton flies to Reykjavik, where he meets the four survivors in the lobby bar of their hotel. Over the course of a night of heavy drinking and storytelling, we learn of the crew’s bravado and their superstitions. They are presided over by the hotel owner (Sophie Cox), who has a yarn of her own to share.

Bean explores commercial sea fishing, touching on the international disputes over fishery limits, depleted stocks, the Cod Wars, and the pros and cons of the Common Market, but the second act is mainly about the perils of the work. We’re conscious that this world is about to disappear.

Bean has clearly done his research, his writing is a delight, the cast is solid, Emily Burns offers assured direction and Anna Reid’s detailed set is impressive. Nevertheless, Reykjavik feels like two separate plays, rather than coalescing into one satisfying whole, which inevitably diminishes its power.

Until November 23
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