The title baldly announces both the
dramatic content and the perversely playful initial mood of Rajiv
Joseph’s play. We see Kayleen and Doug on their first meeting, waiting
to see the nurse of their American Catholic grade-school: she has
stomach trouble, he a badly grazed face after riding his bicycle off
the school roof while pretending to be Evel Knievel. (It sets the era
as well.) The several subsequent scenes jump back and forth through
their lives, but the keynotes of the two characters remain constant.
Doug is basically too dumb not to keep doing dumb stuff that injures
him (he disproves the old cliché: even after he loses an eye to a
firework, it’s still fun and games to him), while Kayleen’s mutilations
are (give or take a phase with a razor-blade) mental: depression,
anorexia, generally abyssal self-esteem. The two are never a couple,
never in love, but seem to be soul mates of a kind; they are bound
together by a sense of mutual refuge, returning again and again even
after years apart at a time.
Mariah Gale and Felix Scott work well together, even in the onstage
costume changes which occupy at least ten of the 80 minutes of Justin
Audibert’s production: they undress and re-dress whilst preserving the
mood which ended the previous scene and modulating through to that
which begins the next. Performing in the irregular white envelope which
slashes diagonally across the Gate’s small space in Lily Arnold’s
design, Gale and Scott give a sympathetic portrayal of a couple of
misfits who are never particularly ground down by the world at large,
nor take up arms against it. We assume that all they really have in
their lives is each other because that is all we are shown. (Scott even
genuinely fractured his hand at the performance I saw – that’s real
commitment.)
And that is more or less as far as it goes. Joseph is not interested in
broadening his picture, which is fine, but nor does he deepen it.
Scenes have a tendency to end on unsubtly thumping lines, and the final
scene thumps pat-a-pat, as if the writer feels he should take this idea
somewhere but cannot manage it. This is Joseph’s first British
exposure, and so far it promises neither triumph nor disaster. Watch
this space.
Written for the Financial
Times.