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An exploration of female rage throughout three periods of history. Featuring uncomfortable but necessary truths, the narratives exhibit resilience and recovery. Summary
Rating
OK
Walking into the Old Red Lion Theatre, you first spot Hug Hernández sitting and eating a sandwich whilst writing in a notebook. There is another chair placed directly opposite him, and immediately you start speculating who it might be for.
The rest of the stage is sparse with only a large stick and a white shawl resting against the back wall. As the house lights dim, Caroline Letelier bursts in and the audience quickly learns that this is a therapy session set in the present day.
With the modern-day scenes paralleling moments from Sophocles’ Elektra and Hrotsvitha Von Gandersheim’s Paphnutius, Unearthed explores the struggles of three women throughout three different historical periods. To create a more cohesive narrative, the modern protagonist could have referenced these stories in her therapy sessions
In the modern-day setting, Letelier plays a woman who experiences panic attacks and struggles with poor mental health. Through sessions with her disinterested therapist, we soon learn the cause of her trauma. However, as the play is fragmented, it is difficult for the audience to establish a strong connection with her.
The second timeframe is based on Paphnutius. Yet, if you are unfamiliar with this play (as I was) there is a lack of understanding of its significance. Letelier plays a woman who is banished by a hermit (Hernández) to live inside a small cave as penance for prostitution. To capture the claustrophobia, Letelier is concealed within what appears to be a closet towards the back of the stage, where she effectively delivers lines from behind the door.
In this time frame, we meet Roy Mas who plays the hermit’s sinister assistant. Through just looks and expressions, they effortlessly prompts laughter from the audience. However, Mas shines as the mother from Elektra.
In one particularly intense scene, Mas and Letelier engage in a physical fight. They writhe around on the floor, resulting in the symbolic spilling of blood. Red string is cleverly used to represent this, reminiscent of the red string doll that was used in the previous modern-day scene. As well as reflecting rage, it signifies the web of stories which the play endeavours to weave together.
In each historical period, Hernández’s and Mas’s characters do not listen to Letelier’s female protagonists. Letelier expertly conveys the frustration experienced by her characters, particularly seen during the incongruous talk show segment.
The production is currently in its development stage. To enhance the play, a more apparent link between the three narratives is needed and the audience’s investment in the main character’s trauma could be strengthened. Yet, this is a show with plenty of promise and ample potential for deeper engagement.
Directed by: Dominika Uçar and Hannah Gintberg
Written by: Carmen! for Deadweight Theatre Company
Produced by: Bella Cavicchi, Hannah Gintberg & Anna Gorman
Dramaturgy by: Jack Aldisert
Unearthed has completed its run at the Old Red Lion Theatre. Further information can be found here.
