A SINGLE ACT. To 11 June.

London

A SINGLE ACT
by Jane Bodie

Hampstead Theatre In rep to 11 June 2005
Mon-Sat 7.30pm Mat Sat 3pm
Audio-described 9 June
Captioned 31 May
Post-show discussion 8 June
Runs 1hr 30min No interval

TICKETS: 020 7722 9301
www.hampsteadtheatre.com
Review: Timothy Ramsden 21 May

A single act proves over-long for its content.Despite being set in a time-reversing 2007-2006 England, the Act' clearly refers to 9/11. In a single long act, Jane Bodie seems to be exploring its impact on 2 couples. It's clearest in photographer Neil, who wanders the streets in the post-explosion snow. Despite attempts by partner Clea he avoids physical contact with her. Meanwhile, Michelle undergo a year's misery with abusive Scott, the play ending with their first meeting, as news come through of the terrorist attack.

It's unclear how this relates to his violence towards Michelle. Scott veers between inept attempts to please her and outbursts of jealous rage when he gets it wrong. Tom Brooke's performance is a fine damage-limitation exercise and he's partnered movingly by Christine Bottomley as a gentle spirit for whom love becomes a frightful prison. But it doesn't take terrorism to make this kind of unhappiness.

Despite sound work from Ian Dunn and Rachel Sanders, there's little for them to do except to show continuous angst (him) or attempted cheeriness shading to anger (her).

Bodie seems to be writing the same scene over and over. After 90 minutes we know little more about these people than after 15. A few plot-teasers are dropped in, but they add to neither character nor theme. Anthony Clark's production is efficiently played and James Farncombe's lighting attempts to differentiate between two flats which need to reflect more fully a difference in the couples' income and lifestyle. Still, there are limits to a single set, which also has to do for several locations in companion repertoire play Osama the Hero.

Given the twinning of 2 plays for a season looking, however obliquely, at terrorism today (from a very western perspective; couldn't Hampstead have gone a bit more global than this?) it's strange one should be more focused on internal aspects of relationships. And, with 3 time-flicking plays recently opened in London (the others are Upstairs and Down at the Royal Court) the chronology here can be seen as neither so profoundly nor ingeniously used as in the other two. Bad timing - and better luck next time.

Michelle: Christine Bottomley
Scott: Tom Brooke
Neil: Ian Dunn
Clea: Rachel Sanders

Director: Anthony Clark
Designer: Patrick Connellan
Lighting: James Farncombe
Sound: John Leonard
Assistant director: Dafna Rubinstein

2005-05-22 12:33:10