views from the gods

saints and sinners of the stage and screen

The Shape of Things
The Arcola Theatre
3rd December 2013

★★★★☆

Sean McConaghy and Anna Bamberger as Adam and Evelyn

Photography © Maximilien Spielbichler

According to Genesis, after creating the first man, God decided it was "not good for the man to be alone"and undertook "to make a helper suitable for him". Well, arts student Evelyn (Anna Bamberger) isn't the most obvious match for part-time security guard Adam (Sean McConaghy), but the original Adam and Eve were kicked out of paradise. Sometimes obvious is overrated.

The Adam here is sweet, with a wonderfully self-deprecating sense of humour which straddles the line between underdog and loser with an expert balance. But as well as sweet, he's awkward, nerdy and would make Gok Wan cry with his lack of fashion sense. Strutting around in tiny leather hotpants, doing whatever she wants without much fear or remorse, Evelyn is clearly out of Adam's league, but seems willing to overlook their differences. Adam's oldest and dearest friends Philip (Sean Browne) and Jenny (Harrie Hayes) are initially unconvinced, but as they watch him grow in confidence, become better-dressed, more toned and - well, generally cooler, they start to wonder if Evelyn might actually be a positive influence on Adam's life.

Neil LaBute's script, one of his earlier hits rather than later misses, concerns itself with the shape of many things - with love, art, the human form, morality - over the course of the 90 minutes, he tackles them all. The Shape of Things is an intriguing script with a big reveal which is pleasingly dark and yet not entirely unexpected. As far as twists go, it's not M Night Shyamalan, but it is satisfying.

Evelyn is difficult to read and thus difficult to like, not that LaBute was ever known for creating the type of characters you'd want to take home to your parents. For the most part, she seems cold and disconnected, but there are brief flashes of what looks like emotional intelligence. She just does her best to keep Adam - and the audience - firmly out. Perhaps Evelyn isn't as predatory as she should be, but Bamberger gets the iciness to her character spot on.

Sean McConaghy as Adam

Photography © Maximilien Spielbichler

Philip and Jenny are both different shades of grey, willing to trample over other people's feelings to get what they want, but not without their likeable traits either. There's a concern for Adam which is real, a loyalty which never quite fades. As for Adam, he's set up as our anchor, even as he changes, becoming harder and less personable - much like Evelyn - we still want to like him. We're prepared to downplay some of his behaviour out of an aching desire to stay connected to just one of the four protagonists. Because if we don't like Adam, we don't care for anyone on stage, and that just makes for a miserable production.

The set design from Takis is both aesthetically pleasing and inherently practical, a striking deep blue sculpture of a torso transforming into chairs, beds, benches - whatever is required. When one complete package, the torso is handsome and strong, but it comes apart so easily, a reminder of the transient nature of human perfection and its literal objectification. Taking place on top of a raised platform with a smooth black surface, again both attractive and practical, the finish makes it easier for the torso pieces to be manipulated into position.

All this takes time, and director Samuel Miller boldly allows the characters to linger in blackouts, sometimes taking longer than necessary to set up the next scene. It really depends on the mood - and this is followed through. In the dim lights, a calm Evelyn sets up the props for the next move, a slightly anxious Adam hurries more quickly. Some may find the pauses too lengthy, but I found them necessary.

This isn't a feel-good play, and as several venues gear up for their more festive productions, you may be tempted to overlook this for something which leaves you feeling uplifted rather than slightly disgusted at human nature. I think that would be a shame, this is a good quality piece of theatre - just make sure you have the Elf DVD waiting for when you get home, in case you need a dose of saccharine goodness to readjust.

The Shape of Things ran from 27th November to 21st December 2013 at the Arcola Theatre.

Nearest tube station: Dalston Junction (Overground)



Follow us on Twitter

Leicester Square

West
End

Southbank

London

comedy

theatre

music

performing arts

culture