Constellations
In an ambitious attempt to portray the utterly mind-boggling quantum-universe theory, we humble theatre-goers are invited to follow enthusiastic lovers Marianne and Roland on a journey through life; that is, many of their alternate lives across multiple universes. Upon hearing the premise, it is natural to assume that Nick Payne’s inventive piece would numb us with convoluted scientific jargon, but the truth is far from it. Instead, Nottingham New Theatre presents us with an endearing and lucid two-hander that allows its actors to shine in what is essentially a performance piece, carried by impeccable focus and an astute understanding of material.
“Do you know why it’s impossible to lick the tips of your elbows? They hold the secret to immortality.”
We are first introduced to Marianne, played with charm by Sophie Walton, as she amusingly attempts to use elbows (yes, elbows) to flirt with Roland at the BBQ of a mutual friend. Unfortunately, our bumbling hero, played by Ben Standish, is already in a relationship. Or, has just come out of a really serious relationship. Or, is already married... Such is the structure of the play. Through practically non-existent scene transitions, we constantly hop between different versions of the same conversation, taking place in alternate universes, stemming from alternate timelines. Fortunately for us, there is one universe where Roland is single and Sophie doesn’t terrify him with her bad jokes.
And so we are swept along on an oddly, but entertainingly, paced domestic journey and, surprisingly, come to care greatly for these characters. Or at least the versions of these characters that don’t lie and cheat on each other. Walton is sharp and mature in her portrayal of Marianne, and Standish masterfully reveals Roland’s innermost doubts and insecurities without saying a word. Sadly, whilst both performances are confident and heartfelt, authenticity is often lost due to their necessary consideration of the audience, who sit in-the-round. To stand talking from one side of a room to the other simply isn’t natural, and neither is sulkily turning away in anguish just so that we, on the other side, can their reaction too. But these are probably unavoidable technical decisions made by director Gus Herbert, and detract little from their performances as a whole. Besides, there are many natural, tender moments that make up for the over-stated ones, like an entire conversation in sign language, or an awkwardly intimate discussion on the apartment floor.
It is only strong performances that can ever carry this play, and Walton’s and Standish’s are even more impressive considering the lack of everything else. Whilst ambient pink and blue lights gently guide us from one reality to another, an empty space, dark and ominous, constitutes the set, allowing nothing else to draw our attention as the actors use only themselves to flit seamlessly from universe to universe; an element that naturally demands heavy use of imagination. Ultimately, in a very enjoyable 70 minutes, Payne’s script not only delivers a bittersweet romantic comedy, but also, like the physical emptiness of the performance space, reminds us of the uncomfortable void that is our concrete knowledge of the universe.
Constellations played at Lakeside Arts theatre on Monday 6 June and Tuesday 7 June 2016.
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