Review of ‘The Cane’: “When things just won’t stick”

The Questors Studio Theatre hosts the world premiere of this new drama exploring the clashes between generations and their understanding of discipline and abuse. Guillermo Nazara shares his views on the show, to let us know if its uncanny narrative deserves to kiss the rod.

Blood helps the lesson be learned… It’s a horrible thing to say. But it’s even more horrible to think that, back in the day, such a barbaric ideal was regarded as something acceptable – let alone, encouraged. I’m fortunate enough to have been born into a different age group (which hasn’t deprived me of other kinds of abuse, nonetheless). But, at least, in my time corporal punishment was no longer allowed as a means of education. Teachers have done their homework (well, at most, half of it) – and they began to understand how a hostile atmosphere was probably not the best environment for a child to be raised in. After all, violence can only lead to one single outcome…

Last weekend, The Questors Theatre hosted the world premiere of The Cane, a new play dealing with generational clash and family dysfunction. Written by Mark Ravenhill, the piece revolves around an old school teacher days away from retirement. As the arrangements for his farewell celebration take place, the joy of the moment is suddenly tainted by an unexpected turn of events: his past has been uncovered – and there’s very little to pay tribute to in it.

Parting from an exceptionally engaging premise, Ravenhill brings up a most compelling set of themes filled with promise and richness. Yet, very little of its striking potential is actually exploited, most sadly. Though able to establish its vision with clarity, the delivery of the piece looks, nonetheless, slightly jumbled – outlining what it intends to say with precise definition, but struggling to do it in a way that feels organic, natural and, most importantly, credible.

Drafting an arc that flaunts profundity and introspection, it’s its final execution that however comes as a little bit of a disappointment – too many times, endeavouring to bring rhythm and motion to the whole journey. There’s a lack of flow hovering all through the dialogue, which often sounds mildly artificial and unrefined; while the character’s evolution seems confusing and, at some points, absent.

There are so many reactions that appear to emerge at the wrong time – giving almost no space for the roles to experience sufficient development; and thus, making the impression of being used for the sake of an unnecessarily overdramatic approach, instead of the more relatable, and above all, plausible journey both we, as viewers, and they are supposed to go on.

Directed by John Turner, the production is however capable of conveying some levels of verity into the performance. With a cast consisting of an old couple and their daughter, there’s a degree of rapport projected back and forth all through their interpretations. Yet, such a subtle trait ends up shaded, most regrettably, by what looks like a shortage of intricacy put into the construction of their personages – missing an element of depth and complexity that prevents them from ever coming to full shape.

Some moments feel either too sterile or stereotypical, providing very little confidence as for the realness of their parts. In addition, there’s no aspects of individuality given to the characters – able to channel the play’s topics with enough ease, but all the time striving to create a sense of uniqueness that, eventually, can make them look as the person next door; a flaw which, in all fairness, may primarily stem from its not-so-polished writing. A fair exception can be made, in any case, to Pamela Major in her portrayal of Maureen – oozing sentiment and likability through the sympathetic fragility of her rendition.

Stepping into a most salient narrative field, The Cane manages to drag audiences into an uncommon and exciting territory, but hobbles its advancement through a far from elaborate articulation that, unfortunately, builds more bumps than bridges. With all the key components already in its pocket, a more thorough revision, where all the piece’s prospects are explored and its muscles stretched, will be crucial to let it rise and, ultimately, walk its distance. It will not, by any means, drive you up a pole, but it could certainly use a hand to widen its cap of possibilities.

All pictures credit to Paula Robinson & Robert Vass.

The Cane plays at London’s The Questors Theatre until 23 November. Tickets are available on the following link.

By Guillermo Nazara