The subtitle of Anthony Weigh’s
75-minute play,
An argument and an
architectural model, sums it up. The stage is dominated by a
tabletop model of a village which has suffered a Dunblane-type school
massacre: “The Architect” (no character names; played by Deborah
Findlay) has designed a memorial based on the existing school building,
but she is visited by “the Mother” (Sarah Smart) of one of the victims,
who demands a monument less concerned with preservation and more with
the spirit. The Mother is blind, which enables a number of
not-quite-unsubtle references to sight and vision, both literal and
metaphorical. The third character is The Intern, who serves to break up
the slabs of debate between the other two, to allow the Architect to
expound her
Weltanschauung
regarding form, function, meaning etc., and who at the end redeems her
earlier inanities (Phoebe Waller-Bridge is admirably unafraid to be a
bit of an eejit) by becoming a mouthpiece for what would seem to be the
author’s viewpoint on such matters.
Weigh has put immense thought into the subject; the title comes from
poet Robert Lowell’s description of a monument sticking “in the city’s
throat”. But it works only fitfully as drama, despite a trio of solid
performances in Josie Rourke’s production. We find an increasingly bald
opposition between one character, the Architect, who almost entirely
embodies our rational secular values but with whom we cannot identify
because she is cerebral and arrogant, and another, the Mother, who has
a similar monopoly on compassion, principle and nobility but is
likewise alienating by dint of her religiose fervour, with declarations
such as “I will always choose God over the truth.” This prevents our
being speciously seduced by one or other point of view, but it also
makes us less rather than more inclined to focus on the substance. In
fact, a fourth character, mute but heavily symbolic – “the Child”,
unsurprisingly – had been cut from the play during previews, suggesting
an awareness that, like the memorial, its form does not entirely follow
function. A better analogy would be with that model: we can see all the
shapes of ideas clearly delineated and laid out, but they are not on a
scale that we can inhabit or move amongst. The perspective is plausible
but false.
Written for the Financial
Times.