Passion, distress and heartbreak clash in this explosive tale about two souls building a special bond that will remain unbroken all through their lifetime. Guillermo Nazara shares his views on the show, to let us know if its romantic narrative is worth the engagement.
Love is in the air… And it’s DISGUSTING! I mean… Yeah, it’s disgusting. And I’m definitely not saying this out of jealousy after my last dating experiences. Because I’m a strong, independent b*tch who can cope with anything as long as there’s some other people’s happiness I can ruin with my bitterness. Moving on (I’m good at that, as you can see) – the Bush Theatre fell under the spell of Cupid (I deserve a slap for using that expression) with the opening of their latest production, Shifters – a story about two kindred spirits bound to merge in one single entity – but forced to fly apart through the winds of fate, and the wings spread by their own personal fears.
Written by Benedict Lombe, the play narrates (through several time jumps back and forward) the tale of two black people who first met at a school in a time when diversity struggled to push through. One first glance is just enough for that instant click – sensing how two hearts suddenly connect through their mutual likeness of being different to the rest. A friendship blooms and continues to grow all through the years. But something more unique will end up unraveling, even though it would never materialize – at least, not for a long, long time.
A hooking premise to craft the plot around, Shifters presents us with several insightful themes that give both interest and meaning to its recount. However, none of them seem to be endowed with enough spice to let its flavour pop out. Despite featuring some appealing, introspective observations about our personal paths and the struggles every life-chaging choice we make hits us with, the script sadly fails to bring the same level of substance to the account itself – delivering an outline that, wistfully, feels to predictable and, in spite of its conflicts, doesn’t manage to boost enough of a confrontation to make it striking. In addition, the script, in general, appears to be in need of editing, with several passages looking either slightly repetitive or contributing little to move the action forward – which, on the other hand, would work more effectively if kept down to roughly one hour instead of the almost two it lasts for.
Directed by Lynette Linton, the production excels through its rather salient visuals – an achievement made possible thanks to Alex Berry’s simple but elegant and highly evocative staging, as well as Neil Austin’s ethereally intimate lighting. At the same time, XANA’s underscore creates quite an surrounding, inviting atmosphere – which, nonetheless, is unfortunately underused in a story about emotions where music is nothing short of crucial.
Another mention must be made about its cast, with both actors giving compelling renditions with some shades of brilliancy. Tonsin Cole plays his role with flair and casual charisma, while Heather Agyepong brings out her character’s charm through a sincere and heartfelt portrayal. Yet, the highest praise comes from the chemistry they exude onstage, forging a much palpable bond soaring beyond their lines and infiltrating, through a gentle, welcoming touch, into the audience’s souls.
A classic tale about longing, understanding and personal self-discovery, Shifters brings out all of the themes to make of it an arresting piece of fiction, but meanders a bit too much around them instead of deepening into their core. A briefer, blunter approach would probably help galvanize its energy to make it finally shine. Just as its concept, the material also requires the oldest trick in the book: it’s only through simple strokes that you unleash the most powerful complexities.
All pictures credit to Craig Fuller.
Shifters plays at London’s Bush Theatre until 30 March. Tickets are available on the following link.