Monday, June 3, 2013

Passion Play Review

Passion Play
Theatre Royal, Brighton

This is an intriguing play about infidelity coming from several different perspectives. Choral member Eleanor (Zoe Wannamaker) and painter, James (Owen Teale), have been married for years, but it is revealed early on that James is having an affair with his art student, Kate (Annabel Scholey). Eventually Eleanor is told of the affair by her friend, Agnes (Sian Thomas), who split with her husband after he too had an affair with Kate. What follows is a series of arguments and alternative outcomes that not only include Eleanor and James, but also their consciences, Nell (Samantha Bond) and Jack (Oliver Cotton). The story seems simple, but with many points of view the results can be complex.

At first Zoe Wannamaker and Owen Teale appear to be a couple in a contented marriage. It is only when the affair is introduced that it becomes clear how much the tiresome James desires the young woman. Agnes tries to warn Eleanor, but certain of the strength of her marriage she refuses to believe this. When she finally discovers the affair betrayal is etched on her face, yet she remains in control as she confronts James. 

Nell and Jack as the two consciences represent the couple's thoughts. As the couple try to deal with the affair through talking, as well as arguing, their consciences prefer to take more direct action. Oliver Cotton as Jack looks upon his marriage with disdain and is in awe of Kate, whilst Samantha Bond is more reactive than Zoe as Nell. The moment she hears about the affair she becomes a force to contend with, and the arguments between her and Jack are fierce. My only problem is that Nell first appears near the end of the first act, and the playwright, Peter Nichols, does not give enough time to introduce her.

At first Nell and Jack try and tell their counterparts to take the right course of action. During the second act it becomes clear that both pairs are acting out alternative scenarios for the affair. By the end it is interesting to watch the play create alternative outcomes. However, if you are unfamiliar with the play it can be unclear what the characters are doing. It is a challenge to follow what is going on during the second act with multiple narratives and discussions going on at the same time.

That said, the supporting cast of Annabel Scholey and Sian Thomas play their roles superbly and make up for the confusing storyline(s). When she is not taking off her clothes, Scholey plays the feminine fatale subtly. She does not play up the sexualisation, yet when she is with James it is clear that she has him in her grasp. Even when she comes over to talk about the affair with James and Eleanor she gradually takes control. Sian Thomas meanwhile is a moralist but nosey Agnes who makes every effort to show Eleanor that she has been betrayed by James.

The set comprises of the living area of James and Eleanor's house. At times it becomes a restaurant, art gallery, or clothes shop, as walls move back and forth across the stage and photos are projected onto them. What stands out however is the red sofa against the overall colour scheme of white, which becomes the centrepiece of the action. It turns on a revolving stage and a highlight comes at the end of the first act, as the discovery of the affair reaches boiling point. The couples perform a tightly choreographed sequence as they move to and fro around the sofa, trying to get the upperhand over the others. Interspersed within the scenes are pieces of choral music, alluding to Eleanor’s job and showing how even the most culturally sophisticated of people can be undermined by infidelity.

This story of passion, betrayal, and countless arguments is a fascinating one to watch. The story can be convoluted to follow by the end, and the play gives the impression that Nicolas himself has nothing to say on the issue. However this play is good enough to be seen at a High Bargain.

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