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Even allowing for first night gremlins this is stretching the published and announced performance length somewhat.
An expedient solution will be some judicious editing.
Often it feels we are revisiting and retreading old ground and the terrain of their turgid relationships seems more like another minefield.
A minor issue, but given the auditorium dynamic and action, characters sitting, lying or squatting, are often masked by the audience compromising audibility. Plot spoilers are near impossible, a tidy synopsis as likely as a game of squash with a jellyfish.
Writer: Patrick Marber Director: Adam Lacey Reviewer: John Kennedy Are truth and honesty the antidote to the disease of love’s mutual self-deception or does it just poison it more?
This is a provocative and accomplished adaptation of Marber’s award-winning play.
Broken promises, broken hearts, the banality of deception and desperation for love and truth mark this play as an exceptional dissection of ordinary lives laid bare with visceral antipathy.
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Part satirical allegory of contemporary sexual promiscuity – it’s set on the cusp of the millennium – part farce, we can comfortably ridicule the character’s memory-lite goldfish in a bowl mentality. The language is strong, particularly the explicit online sex chat slang, the latter perversely witty for its ingenious acronyms and contractions.
Post interval Act Two over ran on this occasion by nearly thirty minutes.
If their ‘open casting’ policy draws from a well of acting talent enjoyed tonight – the future is very bright indeed.
Runs until 25 February 2017 | Image: Karl Steele Writer: Patrick Marber Director: Adam Lacey Reviewer: John Kennedy Are truth and honesty the antidote to the disease of love’s mutual self-deception or does it just poison it more?
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