Human existence is explored and reflected upon throughout this new piece written by Pulitzer Award winning playwright Annie Barker. Guillermo Nazara shares his views on the show, to let us know if actually ends up in good terms.
Nothing like fasting to realize what a cruel place the world can be. Well, actually, that’s not really what this play is about – but if you don’t like bile, don’t put me on a diet… You’re not really swallowing it (ha!…), are you? Picture five women, lying on their deck chairs on a hot summer’s day, helping each other cope with their voracious hunger… Something tells me that phrase didn’t turn out the way I intended… Anyway, that’s the premise of today’s show. Welcome to Infinite Life – an introspective, philosophical comment on our existential journey as human beings, and the diversions each individual takes while reaching for the same purpose.
A voyage of wishes, regrets, hopes and doubts, the piece drives us through the reflections of a group of patients – sharing the wisdom of their personal experiences, and helping each other heal by providing a different kind of therapy: a new friend’s ear. An exciting, rather insightful idea to begin with, the script (written by National Theatre’s regular Annie Barker) manages to develop an interesting set of roles – properly defined as for what their traits are, and bringing out both truthfulness and proximity to the viewer through the veracity of their background. But unfortunately, that’s basically all that we end up taking home with us.
Directed by James MacDonald, the work excels at providing us with a perceptive observation on people’s paths and the steps they take throughout, but fails at delivering anything else than, barely, exposition. We know who the characters are, we know how they are, but apart from a few minor remarks, their motivations are scarcely sketched – while their evolution is practically devoid. We get to care about them, as they’re presented with astounding probity and integrity (thus, allowing them to effortlessly bond with their audience), but we are never invited to accompany them – as their route is yet to be delineated for us to follow through.
Featuring an extremely compelling cast, regaling us with strikingly authentic renditions, the cast is undoubtedly the strongest element of the entire production – drawing out charm and likability for the roles through quiet yet subtly intricate performances. Among them, Christina Kirk gives a memorable portrayal in the lead part of Sofi, enhancing the vulnerability of her persona through an powerful interpretation which, though on some occasions slightly exaggerated, achieves high levels of piercing realism on the whole. Nonetheless, the greatest praise is earned by Marylouise Burke as Eileen, for her magnetic depiction of the old, traditional though wise Eileen – filling the character with grace, flair and perky charisma.
A soul-searching contemplation on our everyday problems and priorities (as well as their genuine meaning), Infinite Life succeeds at carrying out some proper abstraction on pragmatic values while keeping its feet on the ground. Yet, it’s just the starting point that we’ve been introduced to, as the concept is still to unravel its full potential regarding both action and character progress. Give each part a suitable quest and let that be the guide for the narrative to grow and mature. That way, the appeal of the piece may not be infinite, but perpetual instead.
All pictures credit to Marc Brenner.
Infinite Life plays at London’s National Theatre until 13 January. Tickets are available on the following link.