Review of ‘Flock’: “Not quite ahead of the pack”

The Soho Theatre hosts the London premiere of multi-award winning writer Lin Coghlan’s new play, depicting the struggles of two young siblings living a life that’s shown not much kindness to them. Guillermo Nazara shares his views on the show, to let us know if this bold tale of resilience manages to ride against the herd.

Long ago, I’ve heard somebody make a statement that, as of today, continues to resonate deep within me: “the opposite of love is not hate, but indifference. If you feel such disdain towards somebody, that means you still care about them.” There’s so much truth lying within those words, even beyond the purpose they intend to serve. Because it’s not just about how we experience our strongest passions, but the way we, as a society, are supposed to work. We’re programmed to love and be loved. To take matters into our own hands when fate refuses to help. And to be there for those who are deprived of anyone else.

Playwright Lin Coghlan brings a touching analysis of that reality through her intimate piece, Flock. Portraying an ongoing situation that however too many people seem oblivious to, the plot revolves around two siblings facing the direst hardships of the world from the very first day they came into it. One in need of special treatment, he’s always been under his big sister’s wing. But things are bound to change when she prepares to go to University and start that new chapter she’s been for so long hoping for. A decision that may not appear so exciting to everyone…

Delivered with pathos and flaunting a few elements of verity, the story is more or less able to entice us through the universal quality of its themes: the frailness that so many times we find ourselves driven by an uncertain fate, the anger that takes over us when life shows its ugliest and most unfair side, and how much the reassurance of being loved and mattering to someone else can somehow may all of the above suddenly disappear. Carrying out an interesting turn of events, there are nonetheless that prevent the narrative from fully landing – and eventually, connecting with an audience that, unfortunately, may remain skeptical for the whole course of the performance.

Though tackling with serious issues we can easily bond with, there’s a lack of character construction that affects the overall accessibility of the material. Despite the roles boasting emotion and some levels of insight, there’s still an absence of individuality and complexity – too often, relegating them to more of an archetype than a fully concocted image the spectator can grasp, and therefore bring into their souls. In addition, though exploring its topics with honesty, the dialogue sounds slightly constrained at too many moments – an issue that compromises the flow quite severely, and halts our chances to dive into the recount’s universe to feel a part of it.

Directed by Jim Pope, its dynamic blocking contributes to ease up the pacing – even though that doesn’t pose as a major blemish in the writing itself. Yet, we do encounter some debatable choices in the staging, which instead of enhancing the rhythm or accentuating the atmosphere, seem to achieve the opposite effect. As for the renditions, the cast exudes noticeable commitment in their executions, but sadly they are yet to present any proper chemistry in their interpretations – usually endeavouring (with not sufficient result) to kindle the flair that allows the account’s gravitas to fully unfold.

A laudable effort shedding some soft rays of brilliance, the show gathers a thought-provoking premise that’s capable of appealing to the audience’s emotions as well as giving perspective on a subject that, still nowadays, continues to walk in obscurity. A better developed storyline that puts more emphasis in the integrity of its personages, apart from dispensing with some of its too overdramatic components, will give the piece that final push it requires to move from an average jaunt to something it can actually reverberate inside the viewer’s heart – and consequently, enthrall them enough to flock into the theatre.

All pictures credit to Lucy Hayes.

Flock plays at London’s Soho Theatre until 2 November. Tickets are available on the following link.

By Guillermo Nazara