When I was 18, the main thing I was writing were Facebook statuses that now make me vomit when I'm reminded of them on a daily 'have a look at your memories from 12 years ago' basis.

Orry Wilson, on the other hand, is utilising his writing ability at a level of maturity far beyond his years with his first play 'In Their Blood'.

The story is set in the Isle of Man in the 1800s, and focuses on a young miner named Aldyn (played by Wilson), who dreams of emigrating to America in search of a better life.

It also delves into the challenges faced by a local mining community. Put simply. There is DRAMA. It was like watching Hollyoaks on stage. Only with much better writing, acting, lighting and costumes.

The writing flowed naturally, and the language had an impressive iambic pentameter fluidity to it. Wilson brought a Shakespearean quality to beautifully written lines that dealt with complex three-dimensional characters, highlighting the wisdom beyond his years when putting pen to paper.

The cast was small but diverse in age, with the younger members easily holding their own alongside the more experienced treaders of the boards. Every member gelled comfortably and brought raw authenticity to their roles.

Thomas Iain Dixon played Aldyn's dad Cian and had an unmatched quality of putting the audience at ease every time he was on stage.

Rachel Martin tackled the difficult role of Aldyn's mum, Mona, brilliantly. Breeshey - played by Saoirse Coyle-Carroll – had wonderful stage presence and I particularly enjoyed Daniel Carroll-Cawley's awkwardly charismatic portrayal of Mr Brownlow.

Meanwhile, Sean Reaney as Magnus stole the pub scenes with his strong Manx accent and great comedic delivery.

Put on for three nights at the King’s Court Theatre at King William’s College, 'In Their Blood' was produced by Parodos Theatre Company – The Merchant of Venice/ Macbeth - and directed by David Dawson - Blood Brothers / (the BRILLIANT) Chicago.

Dawson is a steady hand when it comes to directing and brought the perfect blend of experience to Wilson as a new playwright. He did a fantastic job utilising a simple set effectively and intelligently.

Highlights:

  • Wonderfully haunting music during transitions - originally scored for the show - that creates a sense of ominous foreboding. A perfect formula for edge-of-seat viewing.
  • The clever use of a table, lighting, and a little jostling to so vividly represent a mine shaft.
  • The gentle tip of the cap to other locally written production 'Candles'. (Written by Chris Maybury and scored by Nicolas Roberts).

It's hard to act well to bad writing. (The exception being Samuel L. Jackson in Snakes on a Plane). So, it's a testament to Wilson that the writing paired perfectly with all-around great performances and moved at a swift pace from start to finish.

If this is what he's producing at 18, there will be no cause for him to look back on his work 12 years from now and vomit. The sky is the limit.