A startling use of technology combined with the power of playwright Nassim Soleimanpour’s words make this boundary pushing theatre at its finest.summary
Rating
Excellent
When you see a lot of theatre you start to become somewhat immune to plays that ‘push boundaries’ – to the latest gimmicks doing the rounds and your capacity to be surprised. Yet tonight ECHO proved to me that there’s still new, exciting things to be done on the stage: that there are still techniques that can intrigue and bewilder even the most jaded of audiences.
The Royal Court isn’t a surprising venue for a show like this, so it’s intriguing to see what new Artistic Director, David Byrne, has in store in a theatre known to push those boundaries. The premise seems simple yet mysterious: a different actor takes to the stage each night, they know nothing beforehand. In fact they’re asked on stage to confirm that they have done no research or preparation. At tonight’s show we’re treated to the presence of the illustrious Adrian Lester. It’s quite a unique position to see such an esteemed and experienced actor admit to being nervous on stage. He’s shortly joined by the playwright, Nassim Soleimanpour, on a video call from his home in Berlin. This part of the show would appear to be live with conversations between the two, but this fact becomes less certain as the show develops. Adrian is wearing an earpiece so it’s not clear if his somewhat brief answers are a result of his nerves, or are being fed into his ear throughout.
What follows is a journey through four seasons of Soleimanpour’s life. We cover so much of it in such a short space of time as we meet his family through portraits on the wall; his dog comes to say hello; we learn about his home country Iran and his new home in Berlin; he talks about his two passports and how he uses them and considers whether he’ll ever be able to return to Iran again. It’s an account that is jam packed and would be moving in any context, but it’s the way Soleimanpour constructs his story that makes its mark. The way it’s told through the medium of Lester and his earpiece, is surprisingly fluid.
Whilst the actor thrown on stage is a brilliant device in Soleimanpour’s play, the audio visual elements of the production are truly incredible. I can’t possibly spoil the ending but I hear someone behind me say “how on earth are they doing that?”. Throughout the performance the play utilises three screens, two large and one much smaller. At times Lester is instructed to stand behind one of the larger screens and this is where some of the most beautiful moments emerge. At other points we experience things through the eyes of Soleimanpour on screen as Lester narrates.
Soleimanpour’s writing is exquisite and there are moments in the play where this really is the star of the show. When the audio visual elements quieten and we listen to Lester reading Soleimanpour’s words, you could hear a pin drop. Despite the technological prowess of the show, this is where some of the most impactful moments emerge. It’s a shame that on a couple of occasions the music overpowers Lester’s voice, whether intentional or not, and it’s a struggle to hear what’s being said.
It’s hard to review a show like this. It’s part art installation, part film festival. A masterclass in crafting a story. A heartbreaking autobiography. It truly has to be seen to be believed. With a different actor each night, I’d be fascinated to experience the show with another presence on stage. A different energy in the room. And perhaps exactly the same narrative, but who can say?
Written by: Nassim Soleimanpour
Directed by: Omar Elerian
Creative technologist and production design by: Derek Richards
Lighting design by: Jackie Shemesh
Composer and sound design by: Anna Clock
ECHO is part of the LIFT2024 Festival and is at the Royal Court until 27th July. Further information, including the list of actors’ performing and booking can be found here.
