Tag Archives: Ellen McDougall

EAST IS SOUTH

★★★

Hampstead Theatre

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EAST IS SOUTH

Hampstead Theatre

★★★

“The cast is superb and slips through the gears with unruffled confidence”

In his break-out hit House of Cards, writer Beau Willimon peered into the darker culverts of the human soul to assemble Kevin Spacey’s sinister politician Frank Underwood. In the dazzlingly complex East Is South, he stays in the same vicinity but stares fixedly upwards.

He is doing nothing less than searching for God, or her composite parts.

His new play asks whether Agi – the anthropomorphised AI machine – has the necessary attributes to claim the role.

These dense philosophical disquisitions are, mercifully, pinned to a conventional genre plot. Someone has sidestepped protocols and attempted to release Agi into the outside world.

The stage is a soulless interrogation suite in a secret facility. Coders Lena (Kaya Scodelario) and Sasha (Luke Treadaway) are quizzed by diligent NSA agent Samira (Nathalie Armin). Loitering in the shadows is mentor and walking Ted talk Ari Abrams (Cliff Curtis), who is battling his own demons, except he doesn’t believe in such things.

On a two-tier stage, the office above is set aside for the watchers, the agents and the monitors.

Despite Lena’s plaintive denials, there are reasons to suspect her motives. She comes from a strict Mennonite Christian upbringing and her vetting throws up some dubious episodes in her past. Then there’s her relationship with Sasha, a Russian refugee who literally bears the scars of a repressive regime.

Why would they risk everything – freedom, life, intellectual exploration – on a fool’s errand? Another question might be, why deny Agi her manifest destiny?

Under Ellen McDougall’s unobtrusive direction, the interrogation scenes ground a script which, like a toppled firework, has an instinct to shoot off in brilliant tangents. The cross-examinations are tense, revelatory – and comprehensible.

Elsewhere, it feels like an explosion in an encyclopedia factory, with characters picking up random pages and reading aloud. We have an explanation of the Māori Haka, a disquisition on the duality of mind and body, a theory of dark matter, an update on efficient evolution, some rousing Bach deconstruction, an unfortunate incident with a snack bowl and a torrent of other fragmentary pieces that attempt to cohere into a grasp of ineffability, which by nature and definition proves impossible.

Meanwhile agent Olsen (Alec Newman), an amusingly simple soul among a collection of racked consciences, only wants to break fingers and find the truth. While others have multiple descriptors (Māori Jew, Sufi Muslim) he’s just an American, he says, and tired of all the high-falutin’ speechifying.

The cast is superb and slips through the gears with unruffled confidence. Scodelario is nicely unreadable as the idealistic coder, neatly balancing a clear intellectual rigour with a soft and damaged heart. Treadaway is sinuous and sly. Armin gives the thankless role of interrogator depth, while professorial Curtis steals scenes with his nuanced Eeyore ramblings.

They all wear their brilliance lightly. This is just as well, because the heavy-handed approach to the topic threatens to snuff out the guttering candle that is leading us mere mortals through this mazy nether world.

In the end, the posturing longueurs edge out the needs of genre drama such that relationships are rushed and the plot twists are never entirely convincing.

Nevertheless, this is an ambitious and fearless attempt to explore the nature of AI which threatens to revive discussions of the divine just as we in the West have settled for secularity.

What emerges is the irrational need for transcendence and ritual that make us both human and – in Agi’s eyes – unfit for purpose.



EAST IS SOUTH

Hampstead Theatre

Reviewed on 17th February 2025

by Giles Broadbent

Photography by Manuel Harlan

 

 


 

 

Previously reviewed at this venue:

AN INTERROGATION | ★★★★ | January 2025
KING JAMES | ★★★★ | November 2024
VISIT FROM AN UNKNOWN WOMAN | ★★ | July 2024
THE DIVINE MRS S | ★★★★ | March 2024
DOUBLE FEATURE | ★★★★ | February 2024
ROCK ‘N’ ROLL | ★★★★ | December 2023
ANTHROPOLOGY | ★★★★ | September 2023
STUMPED | ★★★★ | June 2023
LINCK & MÜLHAHN | ★★★★ | February 2023
THE ART OF ILLUSION | ★★★★★ | January 2023

EAST IS SOUTH

EAST IS SOUTH

EAST IS SOUTH

Faces In the Crowd

Faces in the Crowd

★★★★

Gate Theatre

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Faces In the Crowd

Faces in the Crowd

Gate Theatre

Reviewed – 21st January 2020

★★★★

 

“a stunning exploration of narrative infidelity, space, and the way in which stories shape our view of the world, and of ourselves”

 

If a baby’s crying in the room next door, how can you sit down and write? When children’s toys litter the ground, and the only desk is taken by your husband, how can you find space to be creative? If fiction resembles life too closely, how can you be sure what’s real and what’s not? Ellen McDougall’s new play, at the theatre she artistic directs, is a stunning exploration of narrative infidelity, space, and the way in which stories shape our view of the world, and of ourselves.

Adapted from Valeria Luiselli’s 2011 novel, published in an English translation by Christina McSweeney in 2014, three interweaving narratives form a vibrant tapestry on stage. The Woman, played with vigour and conviction by Jimena Larraguivel, attempts to tell her audience a story. A nagging child (played alternatively by Juan-Leonardo Solari and Santiago Huertas Ruiz) interrupts with comments and questions. A baby’s cries force her away, leaving little notes for her husband to read out at her command. Upsetting the flow of her tale, these moments of male pressure remind of the ease at which women’s creative potential can be disturbed. One long table dominates the stage. At first, The Husband (Neil D’Souza) sits here to work. It’s only after The Woman befriends a neighbour, The Musician (Anoushka Lucas) that she finds a table, and space, of her own to write. Working as a translator in Mexico City, she discovers a book of letters by Mexican poet Gilberto Owen that so reflect her situation she feels compelled to get them published. As her attempts hit various stumbling blocks, Owen comes to haunt her present, causing her grip on what’s real and what’s not to slowly dissolve.

Larraguivel is a dominating force in this production. Holding the audience in her grip throughout, this is her story to tell. Direct address keeps us hooked, and intriguing moments of introduction – “This is what I looked like smoking a cigarette” – underscore how narration and presentation are two very different beasts. Unafraid to be messy, Bethany Wells’ design brings in the bright colours that invoked Mexico for English people like me. George Dennis’ sound design set an immediate sense of time and place in brief moments, and the songs provided by Lucas throughout are simply gorgeous.

McDougall’s collage-like adaptation interlaces the narratives neatly. The theatre’s programme and posters credit the original author and translator prominently, fitting in a play where translation becomes a key aspect. In fact, the whole market of Latin American translation is almost mocked. What is it that English-speaking audiences seek from these texts? What do we expect? As The Woman asks, who is made invisible when we experience these stories?

If Faces in the Crowd has a flaw, it feels a little too long, the text not always gripping when it should, and at times the narrative strand a little unclear. But perhaps that’s the point. Like the house in which The Woman writes, telling stories can get messy. Find your space, and fight for it.

 

Reviewed by Robert Frisch

Photography by Ellie Kurttz

 


Faces in the Crowd

Gate Theatre until 8th February

 

Previously reviewed at this venue:
Dear Elizabeth | ★★ | January 2019
Why The Child Is Cooking In The Polenta | ★★ | May 2019
Mephisto [A Rhapsody] | ★★★★★ | October 2019

 

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