London’s Bush Theatre hosts the world premiere of Bijan Sheiband’s latest play, exploring the trials and tribulations of parenting from different perspectives. Guillermo Nazara shares his views on the show, to let us know if this piece dealing with family ties actually puts its head on the noose.
No matter where or when, every parent has the same story about their transformation into adulthood. It’s that shooting moment when you look into the eyes of your own child that the world stops, and from then on and ever, begins to turn only around them. I still don’t know that feeling, as my closest experience to it is when I’ve been called a daddy, but it seems dangerous to relate both. In any case, there are probably many ways of being a father. But surely, none of them are easy.
Last weekend, London’s Bush Theatre hosted the world premiere of The Cord, a new play by Bijan Sheiband dealing with the joys and struggles of family relationships – exploring the ties that attach us to the people we love, but which sometimes it seems as if they strangled us. Directed by Sheiband too, the piece offers a rather insightful look into the simple quests and yearnings that often constitute the big themes in our lives: the need to love and to be loved, to understand and feel understood, and to find meaning in the continuous effort we find ourselves making everyday.
Written with soft wit, easy flow and engaging introspection, the work succeeds in painting an accurate, relatable picture through its universal characters and, to some extent, quite deep dialogue. However, this does not really translate to its narrative on the whole, most sadly – presenting us with a story arc that, though properly crafted as a premise, still feels blurred as a plot. There’s an evolution for its protagonist, but not sufficient action to make either its journey (and ours, as an audience) fully unravel. Instead, we move through scenes endowed with profundity as for its philosophy, but shallow in turn as for what happens. We’re introduced to a big conflict, but its possibilities are, quite unfortunately, ignored through a recount where we can’t help but feel that, except for the protagonist’s insecurities, there’s not much going on.
Some acknowledgement is to be made to some aspects in any case – stemming once again from the production’s elements. Samal Blak’s compelling set designs creates a suggestive, atmospheric and, to some point, symbolic visual voyage, evenly complemented by Sheiband’s clever blocking and Oliver Fenwick’s evocative lighting. In addition, the use of an onstage musician (cellist and composer Colin Alexander) only enhances the montage’s allure, through a discreet yet piercingly intoxicating score whose presence manages to deliver a show of its own.
As for the company, its three-handed cast give a rather laudable performances, excelling through the chemistry they project towards each other. Among them, Lucy Black makes the most memorable appearance in the role of the toxic mother, Jane – portraying a personage of incredible complexity that avoids any archetypal substance in exchange for great doses of humanity.
Parting from an inviting and honest concept, The Cord weaves an interesting outline as the foundation of its storytelling, but loses its thread by turning away from both its pacing and development needs. A richer account, relying on occurrences apart from reflection, will probably release itself from the knot it so wistfully seems to be tangled to. It’s a tight rope that could easily be strengthened. But for that to come about, it needs a few more twists so it actually loosen up.
All pictures credit to Manuel Harlan.
The Cord plays at London’s Bush Theatre until 25 May. Tickets are available on the following link.