Review: Spiderfly, The Space

It’s not fair to compare two productions of the same play, especially when one was at Theatre503, the other in The Space. The differences are instantly obvious; budgets, support teams, even rehearsal times. But even allowing for this, well…

Clearly there are limitations being worked with here, and you go to The Space with this in mind. It’s made most obvious at the play’s close, however, when it’s announced Olivia McGuinness was a late replacement and so had even less rehearsal time. This actually doesn’t show: she holds her Esther together well, managing the complexities in a way that belies that limited rehearsal. But other allowances can only go so far, after which it’s important to call out the problems. Of which there are many.

Spiderfly is an incredible piece of writing from John Webber. It’s a play about taking ownership, of your life and your grief, something Esther is determined to do as she splits her time between the two men currently in her life. The first, Keith (Alexander James Coop), gets her best attention. Even as she declares her hatred, she still flirts and hangs on his every word. The other, Chris (also Coop), is slightly less successful in forming a connection, even though he is the one she is dating. As the two relationships unfold you slowly piece together just who Keith is, and here things should be shocking.

So, here’s the problem. It just doesn’t contain an ounce of the required tension, dread or shock. That’s all sucked out by a series of questionable choices, the biggest of which is the scene changes. They are so long that I could head to the bar for a perfectly poured pint of Guinness while they take place. One scene is shorter than the gaps either side. This matters when a show relies on building tension, something that is destroyed each time we sit in silence for ninety seconds waiting for actors to return after frantic costume changes. The audience soon realise a wait is coming and begin nattering amongst themselves to kill the time. Yes, it’s opening night, perhaps things will tighten up, but it’s still unforgivable and a good director should find a solution before allowing an audience in.

Equally as frustrating, and another tension killer, is the lack of projection from Coop; his Keith especially mumbles his way through scenes, words lost by a chair shuffling or worse, his arm scraping across the table loud enough to distort his voice. Once more, questions should be asked of the director.

It all results in a play that relies on tension basically having none. The final scene as Esther at last takes full control of the moment is utterly lost by this point, as we simply aren’t at all invested in any of these characters. The conclusion falls so flat because of this that for moments we aren’t even aware the play is over.

Yes, it’s unfair to compare a version at The Space with its 2019 Theatre503 version. But it’s hard not to expect that if you attempt to stage such a complex play such as Spiderfly you at least do it the justice it deserves. This version may improve given time to bed in, but it’s hard to imagine that right now. As it stands, you feel that this spider’s web is way too flimsy to hold together.

Written by John Webber
Directed and produced by Alexander James Coop

Spiderfly plays at The Space until Thursday 9 April.