London’s Barons Court Theatre continues its showcase of fringe pieces ahead of their upcoming Edinburgh run. Guillermo Nazara shares his thoughts on this new comedy dealing with international robbers, to let us know if coming to see the play was actually a fair exchange.
Bee-dle-dee bee-dle-dee de! Two faces. Bee-dle-dee bee-dle-dee de! Two faces… Sorry, it sounded funnier when I… Alright, I’ll just leave it. Gee – don’t need to be all over my jokes like some sort of mafia… or every Italian woman, for that matter (oh gosh, I’m going to get cancelled). Anyway, picture it (c’m one, that’s a good one): two actors, eight characters, one story. A cat and mouse play where fine art robbers and the international police mingle together despite walking on different paths – related, but still waiting to cross.
Two Faces made its maiden voyage to the Barons Court Theatre last week, as a preshow to its upcoming its upcoming run at the Edinburgh Fringe. Directed by Jesse R. Tendle , the show stars Hassan Hope and Jasmine Dorothy Haefner, making their their London debut in this multi-character thriller where humour becomes the final twist. The piece sets its basis on a compelling subject: the premise is grasping and the approach, entertaining. But sadly, the development of the content fails to do justice to the spirit of its idea.
Though the use of simultaneous plotlines provides the narrative with a more agile rhythm, the final outcome seems to be jeopardized by quite a recurring lack of proper pacing within the scenes. In addition, the overall structure looks incomplete, outlining a well-executed first and second act but leaving us with not-too satisfying a conclusion – if there’s really any to begin with. The script features some enjoyable punchlines, but unfortunately that doesn’t turn into a common trait throughout the performance – as more than usually, the dialogue sounds dried up, and too many times, the story elements filled with excessive 90s-movies cliches.
As for the cast, Jasmine Haefner gives quite a gratifying rendition in her numerous parts – often presenting herself with confidence and, occasionally, a driven, magnetic attitude in her delivery. But wistfully, that’s not enough, nor is the account of a few thieves to create something that can steal an audience’s hearts. Parting from a concept that could work if taken by the right hands, Two Faces requires better dramaturgy to be able to explore (and release) its full potential. There’s a lot of ground work to be done at this stage, and most probably, the whole refurbishment will lead to the very foundation of its format. But if this time done properly, it could honestly build up to the sky.
Two Faces will play at the Edinburgh Fringe from 4 to 26 August. Tickets are available on the following link.