A Review of Unbroken Productions’ Still Life

Anyone who knows anything about romance narratives will be able to define a meet cute for you. Whether because you are a fan of The Holiday or spend the hours you should be writing an essay watching Netflix rom coms, you will be able to easily identify this iconic concept. It is the basis for Noel Coward’s Still Life, the one act play which inspired Brief Encounter and which filled the Michael Pilch slot for second week. The play follows the unfolding relationship of a mystery woman and doctor who meet by chance at a station café, with the months passing as they sip a series of cups of tea. Yet, to claim that this is a play merely about a single romance would be selling it short, for there are many overlapping stories taking place in this remarkably short play.

Upon the stage a range of characters come and go, from the matronly Myrtle Bagot to the young and flirtatious Stanley, their interwoven lives and romances played out as a backdrop for the affair taking place. These characters were well established even in the short length of the performance and there was no doubt that this was a strong cast, with even the guest appearance from producer
Noah Wild being memorable. The quiet performances of Grace Bellorini and Tom Allen as the leads Laura and Alec were poetic in their careful development of the fragile relationship. Very far from being merely Romeo and Juliet, these characters were conveyed with a tenderness that couldn’t help but draw us into this doomed love story. Allen in particular was notable for his expressiveness,
so much of the inner turmoil of the character irrefutably flitting across his face. In contrast to this very quiet relationship, the unfolding romance between Esme Rhodes’ Myrtle and George Vyvyan’s Albert Godby was colourful, playful and excellently conveyed. Both actors were confident in their roles and the directorial decision to have Vyvyan’s back to the audience in some of the interactions was a surprisingly good call. Likewise, there was a real awareness of the entire stage, with the characters not prominent in the scene always acting.

The new normal for Oxford theatre is undoubtedly a thrust stage, the set up being one that can make or break a production as I am apt to say. In the case of this particular play, the stage layout was clearly thought through, with a comfortable use of the space and true awareness of the placement of the audience. The set was fairly elaborate, with the counter and two tables positioned in the space in a way that could have inhibited the view but somehow managed to navigate it so as to avoid this. Likewise, tucked in a corner yet still visible was a pianist, his musical interludes assisting in the impression of the passing of time. In fact, the scene changes were excellently handled. The café staff acted as stage hands, being responsible for resetting the stage, turning the calendar and providing a simple but effective impression of the months rolling by. This is perhaps one of the best examples of scene changing that I have seen during my time at Oxford, particularly with the added beauty of the music.

With a powerful use of background acting, the use of interesting lighting as the distress upon the stage grew and the regular interludes of trains pulling into the station outside, this performance was a well thought out piece. Guilt was explored in contradiction to the comic relief provided brilliantly by Matilda Piovella both in her role as Bill and Dolly. The play is quietly emotional, so much of the truly pivotal moments taking place in the style of a Greek drama and only really hinted at through the excellent performances of those reacting to them. Sophie Magalhaes’ directorial decisions were confident throughout, with the power of silence (in particular an awkward silence) being successfully leaned into.

 

Photograph curtesy of Freddie Houlahan