Review of ‘Inferna’: “Heat does not ignite the flame”

London’s Riverside Studios hosts the premiere of the Small Beer Company’s first-ever production, depicting the torture and misery of the young, unmarried mothers brought to religious institutions against their will. Guillermo Nazara shares his views on the show, to let us know if this fiendish tale of the Holy Church left him with a heavenly aftertaste.

There is no God. It’s a harsh statement to make, but that doesn’t make it false – at least, not to the eyes of those who suffered the most harrowing practices in his name. We all remember Sinéad O’Connor’s iconic television moment – when she tore apart a picture of the by-then Pope in an unprecedented act that shocked millions of viewers. She was ripped down for that. But she didn’t care – she knew better. And now, so do we.

Last night, Riverside Studios took audiences into a journey through space and time – as they were transported into 1960s Australia through the London opening of Inferna. Put together by the Small Beer Company, the play brought to the fringe stage a disturbing true story about teenage motherhood – and how these young women were forcefully sent to religious institutions in their families’ desperate attempt to avoid society’s shaming. Far from providing them with understanding and protection, the nuns would instead remind them of their divine love – the kind that rewards those in need with grief and punishment.

It’s an excellent premise that can resonate with so many of us – especially in those places where the Catholic grip has remained untouched for decades, even centuries. As I was watching the performance, I kept remembering the many scandals uncovered by the press during the last few years. But the thing that kept popping into my mind was the heart-melting tale Stephen Frears so masterfully brought to the screen over 10 years ago.

There are many similarities between this work and Philomena. And yet, both of them are ever so different – sadly, not to this production’s best interest. Written and directed by Madison Cole, Inferna is able to showcase a reality that terrorized the lives of so many innocent people – destroyed by the greed and judgement of those whose morality overtook any speck of kindness. It’s a tormenting notion we should all be shattered by. Yet, none of that happens – as no matter its endeavours to sweep us into its anguishing vortex, we can’t help but feel disconnected all throughout.

With its pacing closer to a cinematic recount more than a proper theatrical jaunt, the key issue stems from the lack of authenticity in both characters and dialogue. None of them look genuine. The way they are presented is quite shallow – many of them holding too archetypical an appearance, and missing any element of individuality. On the other hand, most topics are barely explored, tiptoeing along the surface without ever digging any deeper – leaving too many subplots unresolved and, overall, giving a sensation of rush and underdevelopment.

We can acknowledge some of the cast’s performances, anyhow – which, though none of them manage to make a stand-out, are nonetheless moderately compelling. However, the script prevents them from bringing out any further truthfulness – with the dialogue often sounding a bit unnatural, and delivering an excessively contemporary tone in its approach. Offering a modern perspective into a historical event is not necessarily a flaw – but it needs to be subtle and credible. It can have a present-day ideology, but that should be for the viewer to grasp – not its personages.

Not every story has been told – even where their basis are fundamentally the same. We’ve all seen, heard or known of other plots akin to Inferna‘s – most of them being more than just a plot. And yet, so many have been able to touch us as if it was the first time we came across what they’re dealing with – because that’s what every good narrative does: to sublime reality through a unrepeatable, singular vision, and mold it in a manner that feels unique and enduring. Inferna has all the pieces to walk along that path, but it’s yet to find the correct way to assemble them. It’s a commendable effort striving to right a horrible wrong – but before doing justice to others, it should do justice to itself first.

Inferna plays at London’s Riverside Studios until 5 February. Tickets are available on the following link.

By Guillermo Nazara