Review of ‘The Wanderers’: “Klutzy script and schlocky plot give way to oy-standing play”

The Marylebone Theatre hosts the London premiere of Ana Ziegler’s intimate play, exploring the relationships within two estranged marriages in separate timelines. Guillermo Nazara shares his views on the show to let us know if its intended pathos is able to stick or is either a shtick.

I distrust what the American press says about a show. No disrespect to my fellow critics across the pond, but experience has taught me that those so-called ‘critically acclaimed’ pieces usually lose their last name after going through customs — perhaps it’s our way of getting back at Trump’s tariffs, or it’s just that they flew with Ryanair. Regardless, if you’ve been told that The Wanderers is anything but a dull, predictable, and uninspired piece of entertainment, I’d recommend you start considering new sources in the future.

Once again, a promising premise has been betrayed by an extremely clumsy execution. It’s not the idea of the century. In all honesty, it might not even be the brainstorming catch of the day. But no matter how overdone it is, you can still extract some substance from a tale about a literary genius trapped in a passionless marriage, who suddenly reignites the flame he thought lost through an unexpected pen relationship. As their bond strengthens, several parallels are drawn between his and his parents’ stories — a couple of Orthodox Jews who eventually grew apart, confronted by their contrasting views on tradition, religion, and ultimately, what’s worth in life.

Nothing unique about it, especially when its unsurprising twist can be intuited right after the conflict unfolds. Yet, its dramatic opportunities aren’t limited. There’s a lot that could have been done, but wistfully, so very little that has. Its mundane nature shouldn’t be a deterrent to bringing pathos, resonance, and depth into the characters’ journeys. In fact, it should have served as its basis. Their essence is universal — or at least, it should be. Anyone can relate to that self-destructive feeling of emptiness, when you can no longer find a purpose, meaning, or even a reason for joy in your path. And yet, we couldn’t feel less engaged.

Anna Ziegler’s faults as a writer stem from her inability to move beyond one-dimensional roles, as well as a lack of resources to deliver a stirring and entertaining narrative. Its sluggish pacing is a determining factor in the show’s dreariness. Apart from the protagonist’s increasing infatuation with his cyber-romance, the play doesn’t seem to go anywhere. You would expect that its side plot, where a younger version of his mother endeavours to break from a reality she doesn’t want, would have helped boost the rhythm. Unfortunately, its excruciating flatness can only achieve the opposite — posing as another hurdle in what already is an exceedingly bumpy ride.

Director Igor Golyak attempts to add visual interest through a minimalist approach, drifting between abstract evocation and figurativeness. Consequently, Jan Pappelbaum’s design is reduced to a black box featuring a table with chairs and a Plexiglas wall, working as a blank canvas where the lead draws a few additional props, as well as remarks concerning the story’s structure. It’s a nice touch, but its redundancy makes it lose momentum at an alarming speed — and by the third or fourth time it’s brought back, it’s become almost as annoying as the staging’s tedious fascination with snowy scenes.

The cast does a fine job with their portrayals, some of which brim with the truthfulness the script never manages to encapsulate. Alexander Forsyth gives a compelling performance as the show’s centre figure, Abe, playing the part with presence and ease while displaying a decent degree of nuance. Simultaneously, Katerina Tannenbaum makes the other standout as his mother, Esther — a little too restrained at some moments, even for the character’s oppressed existence, but still carrying it out with adequate flair and soulfulness.

Despite a solid starting point, The Wanderers challenges its audience in the worst possible way. It doesn’t defy our convictions, emotions, or understandings. Instead, it offers an innocuous recount incapable of triggering any reaction, support, or engagement — so devoid of content that, past its germinal idea, it’s hard to say what it is about; and more importantly, why it should matter. Its title suggests a picture that materialises before the end, but surely not how the authors would hope for, as the actual wanderers are the viewers’ minds.

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All pictures credit to Mark Senior.

The Wanderers plays at London’s Marylebone Theatre until 29 November. Tickets are available on the following link.

By Guillermo Nazara