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Ends as awkwardly as it starts. Summary
Rating
Ok
Joining her old school as a teaching assistant, Emma (Julia Pilkington) meets Matt (Jolyon Coy) and assists the teacher in putting together a school play. As Matt learns Emma’s aspiration of becoming an actor, he uses everything in his arsenal to teach her all he can to support her drama school application.
Cold Water draws upon aspects of Chekhov’s The Seagull, and Phillipa Lawford’s script likens Emma’s possible admiration of an older, more experienced male (in this case Matt) as a parallel to Nina’s attraction towards Tigorin in the Russian play. References to Chekhov’s script are made at various points, including monologue extracts that eloquently describe Emma’s feelings, climaxing in a version of The Seagull playing on stage. The key to Cold Water’s possible success lies in Emma and Matt’s intimacy. However, the script as it currently stands, does not provide the anchor to create the dialogues needed to express this.
While the scene and the likely outcome of the story are set by the initial similarity of Nina and Tigorin’s tale, the path taken by Emma and Matt is not immediately clear until perhaps after the school play has ended, which is very near the climax of the show. Until that point, much of the play seems to put its attention on Matt’s efforts to improve Emma’s applications and her reluctance to act upon the advice and the help she is given; perhaps a sign of immaturity, lack of confidence or a connection to the career that she is aspiring toward. Although it could be a combination of all of those factors, for the purpose of a short play, it would be beneficial to have that more clearly laid. At one point, Emma records a monologue on her phone and is clearly displeased by her own performance. Whether this is the trigger to her missing her audition or it serves as a catalyst to another event, the purpose is inadequately presented and perhaps some dots are not quite joined up.
From a characterisation perspective, Pilkington’s subtle mannerisms and quirks showcase Emma’s awkwardness; she is uninhibited and queries every little thing that fascinates her. This pairs well with Coy, who is evidently confident, intrigued by and fully supporting Emma’s career choice. However, despite the actors’ best efforts, the conversations feel awkward and at times stagnant, with a sense of hesitation and a reluctance for the two characters to fully engage with each other.
The creative team has transformed the small stage to a typical classroom, where the entire play takes place. Attempts are made throughout to create variations by introducing pictures on the wall as well as chairs, yoga mats and a rug onto the stage. However, other than creating awkward pauses as the audience watch the actors tidy up and put away these props, they serve little purpose.
Although Cold Water has attempted to take the audience on a journey of what appears to be self-consciousness, growth and realisation, much of the narrative is implicit, leaving much room for interpretation. If the interpretation of a scene from The Seagull were to act as the ultimate, rather than an ultimate scene of Cold Water, it would be a more satisfying finale to the cliffhanger that is currently in place.
Written and Directed by: Philippa Lawford
Produced by: Izzy Parriss
Translation by: Ilona Kohanchuk
Lighting Design by: Ed Saunders
Composed by: Laurie Blundell
Intimacy Direction by: Stellar Moss
Stage Manager: Eleanor Birdsall-Smith
Cold Water plays at Park Theatre until 1 June. Further information and bookings can be found here.
