The Royal Court Theatre welcomes this new montage by the Access All Areas company, raising awareness about people with disabilities while regaling its audience with a good laugh. Guillermo Nazara shares his views on the show, to give us all the details about this surrealistic piece where murder brings out love.
Being normal only means to be an individual not outcast by society. It’s fun to think how our standards have changed over the course of the years. The need to fit in, to belong to the group has been an unspoken motto for so long in every stage of our lives. We still do it, nonetheless. It’s only the pack that’s changed. We used to go for the bigger herd in a crave for popularity. Now we separate ourselves from the rest by getting into the box that we think defines us best. Two sides of the same coin? Perhaps. But they all respond to the same quest: our natural wish to feel that we’re not alone.
Murder teaches us to love each other in the Royal Court’s latest addition to this season’s repertoire. Well… Maybe it’s not exactly like that, but I needed to justify a few persons things… Carry on. Imposter 22 lands on the main house’s boards with a story of friendship, camaraderie, awareness and a few loud giggles. Penned by Molly Davies (in co-creation with the Access All Areas), the play is a surreal recount of even more surreal events surrounding one death they’re in the police’s frame for.
A charming dark comedy at some points (however contradictory that may sound… to some), the montage is nonetheless (and above all) an accomplished attempt to raise social awareness – put together and performed by a cast formed, almost entirely, by people with different disabilities. A laudable achievement as for its thoughtful intentions, this is yet not realised at the same level by its delivery – as its storyline, though parting from a stimulating premise, sadly fails to keep up with its promise throughout the course of the narrative.
Despite building up the tension rather effectively during the first act, its approach (a bit too symbolic in some moments) struggles to connect and let the sympathetic potential of its idea out. Relying a bit too much on absurdity to develop its plot, the main message of the piece is watered down by too many elements that, though maybe amusing in their own way, don’t contribute much to the telling of the story – in general, posing more as a bump preventing the pacing from moving steady (or even take off) for a great deal of the journey.
Featuring some highly praiseworthy renditions, in particular Cian Binchy and Charlene Salter for their infectious portrayals, the production true value stems from its inspiring and much refreshing company, but also from its eye-catching visuals. Cai Dyfan’s set design, allied with Anna Watson’s lighting, bring out both mood and aesthetics to the montage, enhancing the narration while creating an evocative theatrical reverie.
With a few ups and downs on the road, Imposter 22 has however managed to make it way with admirable effort, but it still needs to pave its path to reach its ultimate goal. Same aim, different direction – that’s the final stroke to move its course from charming to memorable. Don’t overthink it – keep it simple to actually make it complex.
All pictures credit to Ali Wright.
Imposter 22 plays at London’s Royal Court Theatre until 14 October. Tickets are available on that following link.