Review of ‘COMMUNION’: “Heavy ingredients, but low flavour”

The 18-25 Bush Young Company returns their Off-West End Award nominated show, in an strictly limited run playing until the end of the week. Guillermo Nazara shares his views on the show, to let us know if its dining-themed narrative ends up cutting the mustard.

The most important moments in life happen around the table – or around any similar surface that allows its occupants the joys of eating (in any of its forms…). Yes, I’m aware it  may sound a bit blasphemous of me to make such sinful innuendos when talking about a play called COMMUNION, but as thy will is weak, there’s moments when one just can’t resist the burning urges of temptation, and end up kneeling before it – if you catch my drift… Oh, come on! No need to be so scandalised. After all, oralising what makes you happy shouldn’t feel too over-the-top…

Moving on. This week, the Bush Theatre welcomed back the venue’s owned company of young performers, returning to its stage, for three days only, Katie Greenan’s choral narrative – built upon one of the simplest yet most essential concepts that define our paths: it’s not about the things we do, but about who we do them with; whether it be the work we create, the places we visit, or the food we have.

Outlined as a multi-plot recount, this tasting menu of mini-stories takes us through a showcase of people and journeys of many kinds – all of them, materialising upon the same principle: either if it is just a casual night out of friends or the magical secrets concealed inside the Forbidden Cupboard, there’s always some special tale to be told when there’s food around. A savoury premise   which, with the right recipe, could lead to a rich, fulfilling dish of dramatic zest, the play is able to entice (to a mild extent) by presenting us with some moderately appealing narratives. Sadly, though, none of them bring up enough spice in their execution to leave us satisfied by the end of the performance – let alone, linger in our palates.

Though concocting some interesting ideas that exude versatility while also hinting some tiny specks of insightfulness, the show, however, struggles to depict much else other than mere exposition – preventing its characters from experiencing a proper arc that not only allows both them and their jaunts to evolve, but also engage with us as viewers. Instead, we’re introduced to a long mingling of situations which, though most of them inviting, ultimately fail to live up to any expectation by providing very little development – stirring a sensation of irresolution that keeps us thinking of what they could have been, but most unfortunately, never accomplishes.

Some credit must be given, nonetheless, to some of the production values. Staged in the round and solely relying on tables and chairs to create every space, Georgia Wilmot’s dynamic (and occasionally imaginative) design succeeds as one of the most vigorous contributions to the montage – capable of delivering a much tangible illustration that’s, at the same time, visually compelling. On the other hand, Adam Jeffery’s detailed, evocative lighting stands as probably the strongest achievement in the whole show – evenly blending an generally effective atmospheric vibe with an air of mystique all throughout.

A banquet of ideas waiting to be cooked, COMMUNION serves an appetising entree of first-rate raw materials, but loses its touch by forgetting about the remaing courses – and thus, providing both its personages and accounts with almost none. Though possibly a marmite piece that could still enthral a very particular type of theatregoers, there’s still work to be done for it to transition from a passing snack to a gourmet treat – and leave behind its overall bland tone for something more piquoant and, most importantly, edible. It has all the elements to form a robust misr en place, but still needs to find the consistency to make of it a signature dish.

All pictures credit to Harry Elletson.

By Guillermo Nazara