Review or ‘1:17 AM, or until the words run out’: “Eternal premise misses the right timings”

The Finborough Theatre hosts the London return of Zoe Hunter Gordon’s intimate play about loss, grievance, and friendship. Guillermo Nazara shares his views on the show to let us know if its poignancy remains at close quarters with the audience.

Well, they didn’t run out of words. And to be honest, I wish I had at some moment. This show might be built on a strong premise, but such brilliance doesn’t fully translate into its execution — and for the most part, it just doesn’t at all. There’s a compelling germinal idea, but its constant waffling makes it less of a treat for audiences. And its bittersweetness is unsubstantiated.

It’s been a terrible year for Katie. She’s been coping with the sudden death of her elder brother. He was only in his twenties, and nothing would ever be the same for her or her mother. As she goes through his belongings, she’s greeted by an unexpected visitor. It’s her former friend Roni. They haven’t spoken to each other after a personal brush a few months ago. Yet, Roni wants to clear the air and make peace, unaware of how much grief they’ll have to endure before they can be at ease with each other.

It’s a dramatically powerful concept. And its potency pervades the recount on a few occasions — but it’s clouded, if not overshadowed, by an unresolved structure that oversteps the expositional line several miles. It takes too long for the narrative to establish rhythm. And even when it does, the pacing is nonetheless uneven and, overall, sluggish.

A lot is said without really saying anything. Despite a clear initial conflict, the tension is hardly justified and fails to entice the viewer. The reasons behind their feud aren’t such a big deal for us to care. And although their conversations will unravel deeper problems, none of them is explored in a manner that oozes enough poignancy or depth.

The story moves aimlessly around its themes without truly delving into any of them. That’s likely the most saddening aspect of it. All its topics teem with profundity and resonance. Not only does the plot navigate through a complicated bond, but it also raises other thought-provoking subjects, such as the mechanics of abusive relationships or how class background defines each individual’s perception of struggling.

Although the dialogue makes several attempts at tackling those issues, its grasp is narrow and, on the whole, unsatisfactory. There is no actual poignancy despite its many tries, and that stems from the text’s inability to create complex, nuanced characters that can offer more than that initial dramatic level. Wistfully, they never break away from that archetypal cocoon — at least, not entirely.

Some acknowledgement should be given to the cast, both of whom keep the narrative afloat through rather decent portrayals. Catherine Ashdown displays a thin yet noticeable layer of three-dimensionality as Katie, and Eileen Duffy oozes presence and adequate naturalness in the role of Roni, with the exception of a few more emotionally demanding segments, where her interpretation becomes artificial.

There were motives to reflect on. And possibly, to cry, too. We were just not offered the chance to be a part of them. 1:17 AM has all the ingredients to deliver a heart-touching tale of loss, sorrow, and reunion. However, most of those elements lie dormant in a play that has the means but doesn’t put in the effort to unleash its potential. As the vague ending takes place, a thousand questions pop into our minds. And some of them may have been answered had the script, and especially the characters’ arcs, moved somewhere else from where they started.

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All pictures credit to Giulia Ferrando.

1.17 AM, or until the words run out plays at London’s Finborough Theatre until 7 March. Tickets are available on the following link.

By Guillermo Nazara