James Joyce’s only, and rarely performed, play, which centres on a writer’s wish to live without moral conventions is given a fresh lease of life in this reworking by Dunnico Theatre Productions. On returning from Italy, the writer encourages an affair between his girlfriend and school friend. His girlfriend believes that he has ulterior motives for so doing, centred on the friend’s cousin, but he cites his desire for both of them to be free from conventional morality. This play illuminates the darker potential in relationships, and contemplates emotional torture, not least that self-inflicted on the author in the pursuit of his ideals.
It is beautifully played, and affective
This engaging reworking of the play centres the action in London, in the present day, and these alterations are a complete success. The production is utterly coherent, and has an interesting and accessible resonance for a contemporary audience. Modifications such as a journalist becoming a blogger, or ‘Richard’ becoming ‘Rick’ do not feel forced, and at no point do the changes jar with the play’s themes.
Michael Tucker gives the strongest performance of the solid cast, with detailed and consistent characterisation as the blogger, Rob. His interactions with the other characters are truthful, and the audience sees a character making spontaneous decisions, rather than an actor recounting lines. His comic timing was impeccable, and his mastery of pace alteration to reflect emotion was a pleasure to watch.
Pearce Sampson is commanding as Rick, and portrays the turmoil and anguish which result from his search for total freedom through all aspects of his performance, notably his tense physicality and deliberate speech. He is at his best in the monologue, and despite sections which felt a little over-rehearsed, he was engaging throughout. Laura Fatchett, as Bea, adds much to the portrayal of Rick through her quivering nerves, and provides a beautiful contrast to the more assured Bella, played with sensitivity by Lucy Walker-Evans.
Although there were brilliant moments where the actors allowed themselves time to react to their scene partners, rather than acting in isolation, the production would benefit from this being consistently the case. The final scene is excellent, and the emergence of the characters as organic developments of their earlier selves is a testament to the insightful direction of Jon Barton. It is beautifully played, and affective, as the curtain falls (not literally in this venue!) and we reflect on how else things might have been.
If this slick, well developed production is anything to go by, we shouldn’t send Dunnico Productions away, for fear of missing what’s next from them!
