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Thought-provoking writing and acting that dissects mental health, masculinity and suicide.Summary
Rating
Excellent
There is something quite haunting about January in the UK. The grey and cold days and darker and colder nights that greet us following the festivities of Christmas and New Year create a sensory and social vacuum that is sometimes hard to fill. Though suicide surges at Christmas are reported to be a myth, the number has been known to increase ever so slightly post-holiday season. So with temperatures dropping to freezing, I was intrigued as to how these themes of depression would resonate in Double Act at the Lion and Unicorn.
In this black box theatre the stage is demarcated by a square flooring of bright white linoleum with two black microphones, in stark contrast to the surroundings. Two men walk onto the stage clothed in what appears to be mime outfits. They are dressed in white, with a striped mime t-shirt (sans gloves and the black beret), white powdered faces and smudged eyeliner. The props too are all white, with no text, patterns, or labels, so that all our senses are fully focused on the actors and the script.
This is not a mime show with gestures and no speech. Instead the actors step up to the mics, and immediately set the audience off into fits of giggles with their comedy ‘double act’ (pun very much intended!). They talk over each other, completing each other’s sentences while discussing their daily routine, and general observations on their surroundings, all with a vague destination in mind…the ultimate goal of getting to the beach. We are taken along this seemingly innocuous journey with these two men, only to realise that we are actually witnessing the internal struggles of just one man played by two actors, Nick Hyde and Oliver Maynard, on what will be his last day alive.
They each take on the role of self and inner conscience along with other external supporting roles that they (or he) come into contact with. This is articulated with changes in tone, accent, and demeanour and also with clever use of the microphones to depict the inner voice. We are voyeurs of his journey along his street, with the nosey neighbour, a walk in the park done with great determination (till he realises he’s bored), and then finally on to a train journey. All this with props of just two white chairs, a bin and mostly an internal dialogue. Eventually it is just him alone in a train carriage as he says to himself:
‘I sit on my own for the rest of the way
King of the tube for the rest of the day ’
The cinematic music by Frederick Waxman is wonderfully chosen for each scene, and helps to set the tone, place and mood. It gives the audience an illusion of watching a short film, instead of a stage performance. There are, though, moments where the actors break the fourth wall to engage with the audience, making the performance tangible.
It’s funny, poignant and heartbreaking listening to the constant battle with depression he has within, which raises awareness of this silent killer that many struggle with, unbeknown to others. It is more virulent with men, suppressed as talking about feelings is muted by masculine stereotypes cultivated by society. But Hyde’s articulation of that inner voice, his worst critic, makes this play one that would resonate with any of us to varying degrees, and it is delivered to the audience effortlessly. Merging these serious topics with subtle and derogatory humour makes this an engaging and thought-provoking piece to watch.
Written by: Nick Hyde
Performed by: Nick Hyde and Oliver Maynard
Directed & Designed by: Jef Hall-Flavin
Produced by: Robbie Nestor
Music by: Frederick Waxman
Stage Management: Ryan Mulgrew
Double Act plays at the The Lion and Unicorn Theatre until 13 January. Further information and bookings can be found here.
