Speaking in Tongues

Intimate theatre can sometimes be quite stark in its presentation, somewhat minimalist, one being face-to-face with, almost a part of, the lives of the characters-in-portrayal. This is a very confronting play, delving deep into human psychology, its complexities and people's private lives, the Ad Astra theatre being the perfect setting for this kind of presentation. Andrew Bovell penned it in 1996, a time when human transparency was becoming more and more the norm, indeed an enlivening era with these kind of playwrights around, sometimes pushing the boundaries to create a different view-point, even if a little warped, of the realities of life, in particular human relationships.

The play is very intriguing in its construction, a tangled spiders web of human interaction, with the opening sequence being an abundance of jostled talk, two couples bouncing off each other either side of the stage in an echo of repeated dialogue, an effective theatrical technique, becoming more and more face-to-face with their their edgy relationships. This leads on to more complications with a streaming of dialogue, sometimes to the extreme, where the characters slowly settle into resolution mode. Fast, clever and at times witty, it’s understandable why this play became the subject of interest in its early days.

My one and only concern with theatre these days is its entertainment value, whether one is moved, thought-provoked or convinced particularly on first hearing. Look at the beginning sequence of the second act: is it communicating with the audience? Is it drawing their attention? Or is it hovering on intellectual pretense, possibly providing a vehicle for hungry academics wishing to explore further the unknown or complex; so the cast, all with a lengthy and intricate script to analyze and learn, had a part up-hill battle to inspire the audience, reflect, ask questions. The roles have all been well-workshopped, the director, Heidi Gledhill, undoubtedly having examined in depth the source material.

The cast were, as a whole, quite convincing, in particular Jazz Lane playing Sonya and later Sarah along with Lauren Dillon as Jane and Valerie (the therapist/patient scene in the second act certainly comes to mind); and with James Dyke and Doll Hunt having both approached their mixed roles with intense alacrity bringing to light a difficult and complex script; and well in character.

Though I found this theatrical experience a little less inspiring,  the author appearing to be at times in possible panic mode, struggling with his own demons and pining to let out a scream or two whilst pondering over how to be individual or different, this style of human interplay and presentation is a welcome alternative to the little and big screens so easily available these days and also an important vehicle to showcase local talent where the 'live' side of showbizz always needs opportunity and support. It's also pleasing to see appreciative audiences looking for a little more theatrical sophistication and an alternative to the current digital world. Ad Astra is a good example of this and a venue well worth a visit if you enjoy exploring your intellectual prowess and list of inhibitions.

Brian Adamson