The Gate Theatre, London
****
The Gate has become well known for being a small venue that
consistently stages big productions. Gruesome
Playground Injuries is no exception and eventually leaves us feeling as
raw, battered and bruised as the characters themselves.
Photo: Ludovic des Cognets |
The stage is small and omits a neon, clinical glow
reminiscent of a scientific lab used for experiments. It stretches diagonally,
splitting the audience in two who awkwardly observe each other through the gap
of the stage before the production begins. The two characters of Doug and
Kayleen are present already, one character for each half of the audience. We
have Kayleen who stares vacantly ahead, blind to the audience who sit so close
to her jiggling feet. This arrangement distinctly recollects mirrors in high
profile interviews where a hidden audience watches and listens from behind the
glass. But who exactly is under observation here? Us or them?
Photo: Ludovic des Cognets |
Perhaps it is the genre of the love story itself and the
lengths we have to go to dispel the notion of the perfect or idyllic love story
that has been manufactured by Disney and Hollywood for so long. Instead, writer
Rajiv Joseph employs all his efforts into creating something unconventional,
surprising, and maybe even credible. That being said, for a love story, romance
remains decidedly thin on the ground. We begin in the sterile nurse’s office
where clumsy buffoon Doug is told, “you’re not accident prone, you’re retarded”
by matter-of-fact, sarcastic Kayleen, whose incessant vomiting already hints at
deeper psychological problems. Indeed, the most romantic gesture Doug can
muster is mixing his ‘throw-up’ with that of Kayleen’s, resulting in a
disgustingly messy, vomit cocktail which serves rather well to sum up their
relationship. There is no spark, no immediate realisation that they love one
another. When Doug finally does get round to admitting that he loves Kayleen,
she reveals that she’s living with a long term boyfriend. Similarly, Kayleen’s
confession of love is accompanied by the plea “you can’t marry that girl” to
the inanimate Doug who lies in a coma after being struck by lightning. They
seem stuck together, often apart but always returning to each other, and this
habit, which hints more at fate than mutual attraction, is perhaps the most
romantic part of their story.
The performances of Mariah Gale as Kayleen and Felix Scott
as Doug are extraordinary, lively and raw. They swing with ease between
inhabiting bumptious, excitable children to the serious immaturity of teenagers
and finally the defeated energy of their oldest, battered selves. Between
scenes they laugh and speak quietly to each other as they change clothes or
paint themselves with bruises and for a moment we feel as if we are witnessing moments
of a relationship which never quite happened. There is no happy ending and it
feels as if we’ve finally escaped the love story format where everything must
be neatly tidied up so that the audience can go home satisfied. In fact, there
is no ending at all. As a result, the question “did you enjoy the play?” is not
one easily answered. It is dreadfully sad, organic and wonderfully acted but
enjoy it? I don’t know.
This production runs until 16 February 2013.
For more information: http://www.gatetheatre.co.uk/whats-on.aspx
@GateTheatre
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