London’s Orange Tree Theatre opens its stage to this tale of lifelong passion, grief and regret. Guillermo Nazara shares his thoughts on this piece reflecting on selfishness and sacrifice, to let us know more about a story where truth can be the recipe for deception.
We’re often told that two wrongs don’t make a right. But it’s also true that, even more often, the line separating such trivial concepts is, to say the least, blurred. For years we’ve grown up with ideal stories of what’s now regarded as unrealistic love expectations – or even toxic and dangerous. But what if those acts were genuine and pure? And more importantly, what if it was actually proper to behave that way?
Two independent narratives constitute this one single tale of everlasting yearning. An unexpected journey where wishes are granted in a different manner that what was hoped for, The Swell opens up a stream of questions disputing the definitions of egoism and generosity. When we care for others, do we really do the things we do for them? Or could it be that, at the end of the day, we were just looking for our own comfort?
Written by Isley Lynn, the play does present us with an interesting argument and a well developed arc – leading to a much moving and, most sincerely, haunting and thought-provoking ending. However, this does not reflect in the delivery of the dialogue – which, with the exception of its last part, fails to provide an engaging recount (several snippets lacking a stand-out component and not establishing a bond with its audience).
Directed by Hannah Hauer-King, the production features visually effective blocking in general and a correct use of the scenic space. Nonetheless, some of this staging decisions serve, too, as a threat to the overall efficiency of the piece, as they give away too many clues about its final twist. Displaying a reduced yet dynamic, adaptable set by Amy Jane Cook, it is however Elliot Griggs’s lighting design that’s able to generate a legitimately transporting atmosphere – constantly navigating amongst the realms of mind and reality.
With a choral cast to draw the show’s two intersecting lines, the older members excel as also the most cultivated ones. Sophie Ward gives a charming rendition through her frail yet powerful depiction, while Shuna Snow brings out a beguiling performance through an explosive mixture of raw grief and tender intentions.
Despite its need for some considerable rework in its writing, The Swell does exude originality (especially in its resolution) – and, to some level, it’s endowed with an honest voice to speak through. Once all the scenes match the excitement of its overall plotline, both content and layout will be able to merge in unison to keep its spirit in the air. And maybe just like the sentiments that found its story, let its flame cast an unfading sparkle.
The Swell plays at London’s Orange Tree Theatre until 29 July. Tickets are available on the following link.