Yesterday’s plays both explored the aftermath of awful accidents, in very different styles.

Sea Wall is a solo play written by Simon Stephens and directed by Belinda Cornish. Jamie Cavanagh’s character slowly enters his kitchen, turns off the room’s air conditioning, puts on the kettle, and begins telling the audience about the events of his life that left a hole through his stomach, as he puts it. There were no lighting shifts or sound effects that I noticed, no props except for the tea makings. And we were silent and on the edge of our seats for the whole 45 minutes. In a few lines each, the character describes three significant family members and his relationships with all of them. The shift to telling about a particular event is subtle. And none of it – his joy, his pain, his questions about God and the universe – is any louder or more external than it needs to be. Brilliant. Venue 34, Roots on Whyte building, elevator access.

Flicker, a new script by Shawn Marshall, shows what happens to a young hockey prospect (Ike Williams) after a car accident. The story is not linear, the ensemble players (Riley Smith, Michaela Demeo, Carys Jones, Angie Bustos) all seem to be playing James’ memories and parts of his psyche, and it uses the symbol of a buzzing flickering lightbulb to jump from memory to memory. One of them reminded me disturbingly of Cylon Six in Battlestar Galactica, the Tricia Helfer character. The direction makes good use of the whole wide stage at Sugar Swing Ballroom Upstairs. My favourite bit was the father-son fishing trip with an awkward sex-talk agenda. Venue 27, Sugar Swing Ballroom Upstairs. Air conditioning, bar, no elevator but advance access for anyone needing extra time on the stairs.