Analogue’s thoughtful, haunting
50-minute piece, which won the company a Fringe First award in
Edinburgh last summer, gains more than it loses on transfer to
Southwark Playhouse’s new semi-permanent space. The audience seating is
not raked quite steeply enough to allow some lower-level moments to be
seen clearly; as against that, the venue’s location in the vaults
beneath London Bridge railway station, with the periodic rumble of
trains overhead, adds further resonance (literally) to a piece
originally inspired by a man’s death after being pushed in front of a
Tube train.
We see perpetrator Michael gradually losing his grip on his life; his
obsessions and delusions grow more fevered, he loses track of the
dosage of his medication and (like his real-life counterpart) tries in
vain to get himself institutionalised for fear that he will commit some
act of violent madness. His scenes are intercut with those of victim
Alex and his girlfriend Kate; Dan Rebellato’s script conveys both the
banter and the spats of everyday couplehood, but also refuses to make
normative contrasts between Alex’s behaviour in particular and
Michael’s – they are both, he suggests, victims of modern urban
dissociation.
Alex grows more and more distressed as he sees elements of a prophetic
dream being fulfilled before him; this element, together with a slight
twist and the use in addition of a red scarf as a visual emblem, lend
the piece a shadowy, eerie air akin to that of Nicolas Roeg’s film
version of
Don’t Look Now.
Inanimate objects such as pieces of paper are manipulated, especially
around Michael, by masked, black-clad figures who on the one hand are
akin to the supernumeraries of Japanese theatre, but in the context of
this story also suggest that there are forces manipulating the
characters toward their fatal confrontation. The whole staging
(directors Hannah Barker and Liam Jarvis play Kate and Michael
respectively) has a visual inventiveness, playing games with space and
orientation, yet also an elegance, achieving these effects with minimal
set and unostentatious lighting. It is a modest but impressive example
of deploying visual and mixed-media techniques and a devising process
successfully towards an identified goal rather than using them as ends
in themselves.
Written for the Financial
Times.