“Jessica Lazar’s luminous direction allows plenty of room for the performers to transform their bodies, and our imaginations”
Rafaella Marcus’ first full length play, directed by Jessica Lazar, for Atticist, and Ellie Keel productions, is a dazzling debut. The whole thing is performed in seventy minutes, with just two performers, outdoors in a tent at the Summerhall in Edinburgh. All of which just adds satisfying layers to this complex and thought provoking theatrical experience. At its simplest, SAP is a modern retelling of the Apollo and Daphne myth. SAP manages to retain the love and predatory desire of the original, as well as the tragedy. Performers Jessica Clark (as Daphne) and Rebecca Banatvala (playing all the other roles) are riveting as the pursuing, and the pursued.
Greek myths told in a new way is a perennially popular choice for playwrights. What makes Rafaella Marcus’ retelling so intriguing is that SAP confronts human sexuality in non binary forms, and in a very contemporary way. The language of SAP is rich and evocative. Metaphors are used lavishly, which suits the method of presentation — that of an extended monologue told by Daphne, and short scenes with two characters that round out the story when needed. Plants are described as images of transformation, but these are not gentle or passive examples of vegetable life. In the character of Daphne, Marcus explores the idea of metamorphosis as a metaphor for bisexuality as well. In the first of several unexpected plot twists, we discover that Daphne’s lovers are brother and sister. She has a casual fling with the brother, then meets the sister, and the two fall passionately in love. But Daphne’s lover is unsympathetic to the idea of bisexuality, and Daphne gets trapped in the first of several lies as she has to hide who she really is. When she meets her male lover again at a family wedding where both siblings are present, the meeting is catastrophic.
There is so much for a couple of talented performers to work with in SAP. Jessica Clark and Rebecca Banatvala are more than up to the challenge. Banatvala takes on the supporting roles, including those of the rival brother and sister. But the play begins and ends with Clark’s non binary character Daphne. Jessica Lazar’s luminous direction allows plenty of room for the performers to transform their bodies, and our imaginations, using the vivid language of Marcus’ script. Banatvala’s ability to shift character with the twitch of an eyebrow or shrug of a shoulder, is particularly breathtaking to watch. But the energy that drives the whole comes from Clark as Daphne. The production is complete and satisfying, and that includes costumes and set (Rūta Irbīte) and the work of sound designer and composer Tom Foskett-Barnes. Catch this production while you can in Edinburgh—and hope that it gets produced elsewhere, and soon.
Reviewed 4th August 2022
by Dominica Plummer
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Receiving its UK premiere at the Arcola Theatre, Pulitzer Prize finalist Lisa D’Amour’s spoken and sung Anna Bella Eema is an incredible piece of storytelling that leaves you open-mouthed – sometimes with wonder and often with mystification.
D’Amour has reworked the play since its 2001 first appearance in Texas and Jessica Lazar’s direction gleefully embraces the curiosity of a wild play that is probably undefinable. But even if we are not always entirely certain of what is going on, the production itself is magnificently polished with three central performances to make you sit up and take notice.
Anna Bella Eema is described as a ghost story for three bodies with three voices. If trying to pin a label on such an eccentric and esoteric work is even worth doing, the nearest one might manage is that it’s a feminist post-modern Samuel Beckett, though even he might have balked at including werewolves, talking foxes, traffic inspectors and a girl made out of mud in the same play.
The audience arrives to discover the three performers (identified only as One, Two and Three in the text) seated on three chairs on a solid rectangle that could define the area of the trailer in which they live or might represent something altogether more earthy and basic. The small set (Anna Lewis) is packed with personal belongings and other items that are sometimes struck or shaken to produce dynamic sound effects.
The performers rarely move from these chairs but colourfully narrate the story of an agoraphobic mum and her sassy ten-year-old daughter who are the only residents of a trailer park which is due to be demolished in favour of a new highway. Perhaps in a bid to ward off the approaching evil the young girl creates a mud girl, or golem, who becomes a friend, an alter-ego and a representation of creative indocility.
The result is a production with hypnotic intensity that doesn’t always work or strike home in the way it should (the fault of the play itself as much as anything), but which has a constant freshness and fascination.
As the young mother who has become a recluse in her trailer, almost oblivious to the world outside, Beverly Rudd is a commanding figure. Unpredictable and ferocious, yet delicate, her Irene/One speaks as easily about being visited by a werewolf as she does seeing a social worker. We sense that the world she inhabits (as trapped in her home as Nell is in her dustbin in Beckett’s Endgame) is often beyond her comprehension and everything she says and does is a deluded retreat from reality.
Equally compelling is Gabrielle Brooks as the precocious and imaginative daughter Anna Bella/Two, a lively and cheeky portrayal of a young girl on her own voyage of discovery, especially during a five-day coma. Brooks shows us a girl as eager to escape the confines of her existence as her mother is to be imprisoned by it.
Natasha Cottriall’s Anna Bella Eema/Three has an air of the mythic but also a down to earth impertinence that reflects the dreams of her “creator” as she changes the lives of the people around her forever.
Music and sound designer Tom Foskett-Barnes is the unseen fourth performer, as a scintillating soundscape is produced in music and effects which are as important to the narrative as the lines themselves.
In some ways this is an inscrutable coming of age story, in others the theme is broader (the invasion of the all-American dream, shades of last year’s film The Florida Project), with all three females being aspects of each other, with a keen desire to fight the unrelenting destructive tide of progress.
Anna Bella Eema’s otherworldly and magical perspectives in this Atticist and Ellie Keel co-production with the Arcola may often lead to bewilderment, but even in the confusion this is American Gothic with a touch of the outlandish, poetic and profound.