Review of ‘Phone’: “Staying on the line”

The Goldfinch Theatre company presents its latest play, exposing the detachment of modern relationships despite living in the best connected society of all mankind. Guillermo Nazara shares his views on the show, to let us know if its ringing narrative has enough buzz to be off the hook.

It’s no secret that we spend too many hours a day stuck to a screen. In my defense, I do writing for a living – and I like to be prolific at what I do. So it’s only understandable that people spend so much time reading what I have to say – I just can’t help being that good. But apart from that (because you know I’m irreplaceable… please, say that I am… say it!!!!) , it’s true that we’ve become too accustomed to experiencing things through the lens of our phones. We put the digital memory on top of the real experience. And as a result, we forget to live life itself.

Author Sam Taylor makes a solid statement about this idea in his new play, Phone. The title leaves no room for interpretation; let alone, confusion – it’s literally that: people addicted to those little portable machines that, not so long ago (which is what you say when you start getting old…) would stay at home more than we intended to, and even remain switched off for longer than we could imagine.

Establishing an enticing premise, where the traditional concept of the dysfunctional family meets a modern, technological approach, the piece drafts a promising storyline endowed with compelling, thought-provoking themes. Yet, as much as the characters exude truthfulness in their delivery, there’s still a lack of profundity that prevents the work from moving forward.

Despite playing to a continuous emotional cadence, there’s a level of pathos that seems to be missing, anyhow – able to draw the viewer’s attention, but struggling to hold enough of a grip to properly move them in the end. The problem may stem from an excessive number of characters – who, no matter how much they interact, don’t bring enough substance in order to let the narrative grow and unfold. Consequently, the recount looks stranded at too many points – feeling as if going on circles on several occasions, and not capable of diving into its conflict deep enough to concoct any sort of evolution.

The answer may reside in turning the script into a one-person show, where a similar type of journey is devised, but where the absent introspection it so desperately needs could also be broached in a more organic manner. That way, the perception of a disjointed household could be heightened – drawing out the intimacy through the eyes of a single, relatable individual, and thus strengthening its connection with the audience.

As for the cast, the company is able to ooze some degree of chemistry among them, while also channeling some modest flair into their renditions. Yet, there’s not sufficient layering to allow for the same bond to be built towards the viewer. Though never short of credibility, the intricacy in their portrayals is nonetheless scarce – presenting us with the surface of their essence, but not digging any further in order to explore their complexities, and subsequently, bring out the verity they require in order to accomplish the meaning and resonance the piece asks for.

Dialing up enough interest, but still needing to convey a more robust voice in its message, Phone sets up the landline for an insightful observation on the disturbing flaws that have become the standard in nowadays relationships. Boasting potential but nonetheless craving for a more polished network, a better crafted, slightly more stimulating take on the material will help the account move from basic to premium – as well as getting the reception that, as of now, may strive to secure. It’s a sharp comment that, in any case, shows astuteness and sincerity in its writing, but there’s more to work on before it can give the public a wake-up call.

All pictures credit to Percy Walker-Smith.

By Guillermo Nazara