Last week, the Network Theatre hosted the world premiere of Amalia Kontensi’s new play, starring film and television regulars Simon Bass and Fuonlola Olunfuwa. Guillermo Nazara shares his thoughts about the piece, to let us know what‘s in store in this tale where the love for somebody else clashes with the love for your own self.
This world’s for the dreamers. For those who think outside the box. The kind that “never fail, but only find first 1000 ways that won’t work”. There’s no doubt that determination is the fuel that lights the path to success, but when such inspiring trait transforms into stubbornness, another story is to play next… Stories of ambition being the poison corrupting somebody’s soul are no newbies to the stage – Shakeaspeare made himself very, very (VERY!) clear in that regard. But regardless of how much of a playwright fave the premise may be, its connection with our everyday lives doesn’t seem to have worn out much – perhaps, a red flag we should all take into account (especially me, being a Capricorn…).
Amalia Kontensi’s plot takes off from an interesting initial point: two secret lovers working for a same company, which feeds from the fiercest side of American capitalism. One aspires to climb onto the top of the game. The other one, wishes to destroy it. A strong clash of convictions that will ultimately lead to a complete diversion in each other’s paths – though one aspect will always remain: their mutual care and affection.
Conceived with an appealing outline and providing a sound foundation for an engaging plot, the expectations are sadly not entirely fulfilled through the piece’s final development – the main problem stemming from a congested storyline (with too many things happening over the course of a one-hour performance), as well as a lack of exploration of the characters’ true motivations. Yes, we are presented with their backgrounds, and yes, we are told, for example, why one of them wishes to break the system in hopes for a socialist establishment… But the dialogue fails to create a more realistic, intricate conceptualization of the roles – all in all, resulting in a more archetypical (and sometimes preachy) finish.
Counting on very competent portrayals by Simon Bass (the realistic) and Fuonlola Olunfuwa (the idealist), the cast stands out in this production as its most laudable addition, both their renditions helping to boost the entertainment. However, the general blocking poses a major flaw to the piece’s overall pacing, as they fail to build enough difference and variety between scenes. On the other hand, the use of costume-changing transitions (with the actors altering their outfits in front of the audience as radio recordings fill out the wait) only turn out to slow down the narrative and its rhythm, triggering more of a feel of weariness than a much necessary expectation.
Starting from a commendable effort, Someone of Significance feels more like a work in progress rather than a stage-ready piece. The possibilities of ending up with something more unique lie in its core origins, but a much indispensable refining is crucial to get it to this point. As the play has concluded its initial one-week run, maybe this time will bring creatives the opportunity to enable it with the meaning it’s aiming for.
All images credited to Vasiliki Verousi.
Someone of Significance played at The Vault Festival’s Network Theatre until 5 March.