[review]
The Unicorn In Captivity is about ‘F’, a fine art student in her final year who meets ‘M’, a photographer, at the peak of his career. Over the years, M has gained considerable acclaim within the art industry as a result of his impetus – a deep fascination with his mother’s death. As their relationship deepens, M discovers F has been keeping a secret that drives him into an obsessive exploration.
Written and produced by Angelika May, who also stars as F, May explores a multitude of issues and attempts to draw them together in a unique and provocative story. F begins as a confident, forthright individual. Though contentious at times, her relationship with M, is evenly matched. As F begins to realise her health may be at risk the play begins to blur between reality and limbo as her physical issues worsen. This is emphasised by increasingly abstract scenes of F being haunted by real and metaphorical ghouls. May’s writing is witty and intricate; capturing an authentic dynamic between the main couple – on paper it is believable. In performance, May is stilted and staccato-like in delivery rendering it difficult to connect to the emotional journey of her character.
Charlie Collinson’s portrayal of M is more grounded and fluid in performance. He captures the neurotic, obsessive nature of an artist whose worth is intrinsically tied to his success. M’s character represents the taboo that surrounds the topic of death and how we’re societally taught to react to it. The death of his mother causes him great pain and reward and this dichotomy creates a necessity for him replicate it in order to survive.
The set design by Eliza Podesta is hit and miss. A dishevelled bed centre stage represents the apartment where the couple live, and the use of panels moved and shifted about the stage signify a change in location. Unfortunately, the bed and panels become more of a distraction than a complimentary asset to the scenes. The bed is a focal point and acts as both a cocoon for F as well as an ominous tomb. It’s in a constant state of being neatened and prepped but for no reason in particular. Perhaps this represents a sense of unfinished business, heightening the erratic, spiralling nature of M and F’s relationship. However, the never-ending bed making begins to look as though the actors are moving without direction and the action becomes tedious and repetitive.
There are some genuinely interesting themes within the play that May takes great effort in addressing: coercive relationships, medical negligence, diagnostic prejudices against women’s bodies, taboos around death and illness. The issue is that the play takes far too much time depicting them. The length of the play convolutes the themes, extending scenes to drum home a message that can be conveyed much more concisely.
The production has partnered with Voices for Epilepsy and The National Brain Appeal. The intention behind the production to empower and educate its audience is clearly very important. It’s just unfortunate that the play stubbles when translating these important ideas effectively to stage.
Written and produced by: Angelika May
Directed by: Mayra Stergiou
In assosication with Vertebra Theatre
The Unicorn in Captivity has completed its run at Lion and Unicorn Theatre. It will also play at Theatro Technis as part of Camden Fringe on 30 & 31 July. Further information and tickets available here.
