Tristan Bates Theatre, London
*****
Written by Isley Lynn, a
graduate of both the Royal Court and the National Theatre Aftershocks young
writers’ programmes, Lean is an
incredibly powerful piece of new writing. Lynn puts front and centre the
subject of male anorexia, and treats it sensitively while managing to be
informative.
Lynn’s high-tension drama
is a detailed, frank and uncompromising examination of anorexia. Set entirely
in what becomes a rather claustrophobic kitchen, Tessa, played by Laura Hanna,
arrives back at the house of her estranged husband Michael, Tim Dorsett, for
the first time in a year. She thinks she has found a quick cure for Michael; she
will eat as he eats, mouthful by mouthful, in the hope that he will change to
save her as apparently he won’t change to save himself. It becomes a fraught standoff
between a seasoned pro and a first-timer, a brilliant concept. It becomes a
stark reflection on our connections with each other and with food.
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| Photo: Richard Lakos |
It takes a little time for
the actors to warm up so it is difficult to connect with them. They apparently
have very little to talk about other than food and Tessa’s self-satisfied belief
that without her, he will fall apart, and this possibly goes on a little too
long and becomes slightly wearing. Just as it does, though, there is a shift in
tone and an unexpected twist emerges. This gradual revelation and continued
ambiguity is ultimately very effective, in a way reminiscent of BAFTA winning
writer Nick Thorne.
There are some absolutely
beautiful touches from director Chelsea Walker. Clothes are shed as weight is
lost and sexual tension is built to breaking point. Tessa makes a series of
meals, which appear as if by magic in the oven. Amplifying the sounds of the
oven door closing, and then inevitably the bin lid opening, is a touch of
genius. The sound design from Robert Donnelly-Jackson is striking, and Neill
Brinkworth’s lighting design is effective throughout. Holly Pigott’s
wonderfully naturalistic set design works perfectly, and the moments of heightened
theatricality sit perfectly in it.
Laura Hanna gives a splendid
performance. She captures the slow deterioration of Tessa as she forces herself
into anorexia. There are some beautiful moments between the two, particularly Tim
Dorsett’s imploring line “I can’t get better. You must know that? So stop
asking me to.” Dorsett’s performance is well pitched, and both capture the
subtle, dark humour of the piece.
The true star of the show is
Isley Lynn’s script. It is staggeringly powerful, emotionally frank and does
justice to a complex issue. Lean is
an important play, and this is a brilliant production of it. Lynn has a bright future
ahead.
This production runs until 23 February 2013.
For more information: http://www.tristanbatestheatre.co.uk/Lean.asp
@TristanBates
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