Tiptoes around a delicate subject without committing to it. Summary
Rating
Ok
How to Fight Loneliness explores the controversial subject of terminal sickness, its impact on a family, and the lengths one may go to in order to escape the suffering and cruelty of medical treatments. When Jodie’s (Justina Kehinde) brain cancer returns, she does not wish to undergo further treatment and convinces her husband, Brad (Archie Backhouse) and an old friend, Tate (Morgan Watkins) to help her with an impossible decision.
Given the delicate nature of the topic, Neil LaBute’s script creates an understandably awkward and uncomfortable atmosphere. However, rather than gradually zoning in on the main topic and fleshing out the emotional difficulties each character faces, the script continues to circle around it, as if afraid to go near the epicentre. Although this could be a deliberate move to create a sense of uncertainty and highlight how the characters avoid discussing the issue, it causes substantial pacing issues. Specifically, in Act I, where Jodie, Brad, and Tate spend a significant proportion dancing around a word they all know, but refuse to utter. Instead of establishing tension and mystery, this fills the gap with confusion. To be frank, the way in which the first half of Act I reveals surprisingly little despite the amount of time it occupies makes it feel as if there isn’t any weight or severity to the situation. The story could pass off easily as the start to a comedy.
It is not just the beginning that suffers; the ending is also problematic. This story is better suited to an ending where Jodie takes her leap of faith as she embarks on a path she believes in. Instead, the audience is taken back to the aftermath of the event, which adds very little to the characters, plot or overarching message.
The flow of the story and the chemistry between the characters suffers as a result of the script and direction. While humour could have effectively diffused the tension and provided the audience with some respite, particularly when heavier topics are involved, the way in which this is introduced has the opposite effect: it prevents emotional build up or more intricate displays of affection between Kehinde and her co-stars. Despite this, Kehinde does the most she can with the material she is given, showcasing trauma, loneliness in the fight against her illness, and temporary delight in finding hope as she relives her past with Tate.
There is indecisiveness regarding Brad’s character. On the one hand, there is a hint of a loving, caring husband who does not wish to lose his wife, and also a completely selfish person who wants nothing but to claim the moral high ground, pushing all responsibilities and faults onto others. Although one could have both of these traits and personify a very human and complex character, this is not what is portrayed.
Mona Camille’s set design is simple and flexible, transforming into both a modern living area or a deserted savanna. This transports the characters from the comfort of their own home to a boundless space with ample hope and opportunities. It is in this empty space that Jodie decides to take her last stand.
While LaBute must be applauded for attempting to discuss a highly controversial and sensitive topic, the show excessively tiptoes around the subject without fully committing to it.
Written by: Neil LaBute
Directed by: Lisa Spirling
Set & Costume Design by: Mona Camille
Lighting Design by: Chuma Emembolu
Sound Design by: Roly Botha
Casting Director: Amy Blair, Anna Dawson
How to Fight Loneliness plays at Park Theatre until Saturday 24 May.
