Etcetera Theatre, London
*****
Thoroughly engaging and deeply disturbing, Neil LaBute’s
collection of three short plays packs a massive punch. Three tales are told in
direct address to the audience, each beginning fairly innocently before
gradually revealing the darker elements of the human condition bubbling below
the surface.
In Iphigenia in Orem,
a young Mormon man on a business trip, played by Solomon Mousley, begins the
proceedings by engaging the audience in some delightful light banter. Such is
Mousley’s inoffensive charm and self-deprecating good humour, that his
revelation of his baby daughter’s untimely death through his own apparent
negligence draws nothing but sympathy. But LaBute’s masterful play on the
passage of time reveals that the young man is not as innocent as is first
supposed, and led to me feeling positively betrayed and manipulated.
The following pieces put me through a similar emotional
wringer: A Gaggle of Saints features
lively young Mormon couple John and Sue (Mousley and Emma Deegan respectively)
describing a fun-filled trip to New York, during which John and his friends engage
in a horrific act of homophobia which he describes with all the juvenile
excitement of a football match; and in Medea
Redux, a young woman (Deegan) is sat in an interview room, relating the
story of her brief romance with a school teacher, her subsequent pregnancy, and
her ultimately tragic and naïve act of retribution. Each scene has its own
unique pace, tone, and level of engagement, testament to Jennifer Bakst
expertly nuanced direction, and refuses to let you make up your mind about the
characters before the final words are spoken.
The quality and power of the writing speaks for itself;
LaBute’s uncompromisingly jet black humour and damning indictment of the
hypocrisy inherent in organised religion led to his expulsion from the Mormon
Church. But it is the incredible ease at which the two performers connect with
both their characters and the audience that really stands out here –
particularly given that Mousley had only four days to prepare after his
predecessor pulled out through illness. In each play, they draw you in with an
effortlessness that is truly terrifying, their eye-contact so relentless and
their address so personal and direct that you are made to feel somehow
complicit in their actions. I felt incensed, violated, shaken to my very core –
and I bloody loved it. A triumph.
This production was part of the PNPA festival which runs throughout January.
For more information: http://www.etceteratheatre.com/index.php?id=2&wod=01/09/2013
@EtceteraTheatre
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