Review of ‘The Soon Life’: “Poorly conceived narrative leads to dramatic miscarriage”

London’s Southwark Playhouse hosts the world premiere of this humorous two-hander, exploring the hardships of a late-stage pregnancy from both male and female perspectives. Guillermo Nazara shares his views on the show to let us know if this newborn play needs further nurturing.

Anyone who’s birthed a new work is aware of how difficult the gestation process can get. From minor artistic discrepancies to early deliveries, there are so many variables involved in the quality and subsequent success of a show that you can’t really blame the ones behind it if they reluctantly decide to get rid of it. The Soon Life isn’t all that malformed — in fact, it stands on a solid cornerstone. Yet, its need for a longer incubation period is undeniable.

A defensive woman, going through the last days of her pregnancy, reunites with her estranged partner. They’ve been separated for some time now, but he still wishes to take his role as a father. The tension could probably be felt from across the street. She is still holding grudges — and even an innocent “hello” is a motive for retaliation. Things begin to escalate until, suddenly, her water breaks, and all their energies must be focused on welcoming their latest addition to their so-called family.

If you don’t think there’s anything enticing about this premise, that’s because there isn’t. And its execution doesn’t take a better turn either. Its lack of originality is further muddled by the stagnant and often pointless direction in which the script moves. Apart from the parturition scene (clunky word, I know, but I’m running out of synonyms), and perhaps their predictable reconciliation, there’s virtually nothing to keep viewers invested in what, in the end, is a rather meaningless and dull journey.

Writer Phoebe McIntosh, who also stars as one of the leads, shows competence in her ability to write dialogue. There’s truthfulness in the way the characters talk — and more importantly, in what they talk about. That’s hardly enough to make a recount work, though. Sadly, the script only reinforces that idea page by page. All that they say sounds natural. All that happens looks credible. Yet, it’s never enticing or entertaining. And despite its countless attempts to sound savagely witty, the only claws we come across are our own as we scratch our heads in confusion.

Director Sarah Meadows makes a debatable approach to the material, sacrificing dramatic cadence for a more vernacular acting style. There are no pauses or beats in between the performers’ interventions, accentuating the impression of a spontaneous conversation. Technically, it’s an interesting choice, but its heavy-handed use compromises how the portrayals land — losing strength during crucial dramatic moments and, consequently, coming off slightly flat.

Despite these flaws, we can still acknowledge the chemistry McIntosh and her co-star, Joe Boylan, flaunt onstage. Putting their exceedingly subdued tone aside, their renditions exude depth, as well as understanding of their roles — and above all, towards each other. Their take goes beyond conveying a believable character, but believing in the character they are conveying. That makes an extraordinary difference — and subsequently, the only element in the production that can keep us hooked.

Although it’s not accidentally conceived, The Soon Life remains at an embryonic state for the most part. Its core themes might not be the most innovative, but their resonance is undeniable. Yet, its uninspired writing and paralysed rhythm fail to fulfil any promises — with audiences probably expecting more than they will ever get. Maybe no one asked to put this bun in the oven. But if you do, at least don’t take it out half-baked.

The Soon Life plays at London’s Southwark Playhouse until 18 October. Tickets are available on the following link.

By Guillermo Nazara