LA BELLA at the Edinburgh Festival Fringe
★★★½
“Greenhalgh’s writing is phenomenally impressive”
La Bella is the story of a single relationship discoloured, fragmented and exhilarated by the
many others around it. It is the love between Sandro Bottecelli, the charmingly uncharming up-and-coming Renaissance artist and his muse, the ever-conflicted Netta Vespucci, for whom Botticelli feels an affection that seems to transcend usual love or desire. We follow their periodic meetings – the tentative exchanges, moments of intimacy, vulnerability, anger and mourning that colour their relationships’ canvas all the way until its end (and forever after, too).
The chemistry between Honor Calvert (Netta) and Jacob Cordery (Sandro) is palpable from the jump; their push-and-pull between separation and collaboration buzzes with an electricity that leaves no doubt of pull’s eventual victory, though it’s fun to watch the game be played. Calvert is superb throughout, navigating her character’s witty exterior and the existential sadness it cloaks with equally naturalistic and emotive tact. She at points drifts perhaps too quickly to standoffishness, but quickly recovers the nuance that largely embodies her performance. Cordery is equally charismatic and witty, and his every line seems so effortless as a result, which immerses one in their relationship to great effect. Sometimes, this naturalism becomes too total, and certain emotional moments can feel a little wooden and forced, though his final monologue wonderfully captures the sort of longing and strained affection that had otherwise been hiding halfway in the wings.
Abby Greenhalgh’s writing is phenomenally impressive; in her fringe debut, she whisks sections of believable yet sharp dialogue into dynamic shape, quickly tracing, developing and colouring the relationship of her two characters; their insecurities and desires, loves and hates, fears and prejudices. Both voices feel distinct yet connected, and sections where Netta challenges Sandro are particularly powerful. These moments of composite brilliance never quite coalesce into a satisfying whole, however; the narrative functions effectively, but certain arcs in their relationship either drag or come too quickly. It feels a little like a 80-90 minute play cut down to fit Fringe, which may well be the case. The current iteration’s pacing can thus be somewhat jarring at times, particularly in moments of emotional climax which often spring up suddenly.
Nevertheless, the overarching feeling one leaves with is of immersion; passion for this relationship, the tragedies within, and the art that it produced. The tragic finality of an artist finding themselves unable to draw any other face but the one that caught their heart is tangible and powerful; the creeping eyes, the nose, everything. She stays with him. And La Bella stays with you.
LA BELLA at the Edinburgh Festival Fringe – C ARTS
Reviewed on 19th August 2024
by Horatio Holloway
LA BELLA
LA BELLA
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