A shimmering and engaging spectacle that succumbs to its own darkness rather than surpassing it.Rating
Good!
Adapted from the original Canadian context of Michel Marc Bouchard’s play and transplanted to Brazil, this gripping and unnerving work aims to tackle themes of homophobia, abuse and the dark obsessions we hide, even to ourselves. It’s a show that constantly feels it’s saying something important, pressing toward something grand and supported by a design that cuts deep, yet despite all the engaging spectacle, it ultimately succumbs to its own darkness rather than rising above it.
The setup establishes itself quickly; Tom (Armando Babaioff) has arrived at the farm run by the family of his recently passed (and never named) boyfriend deep in rural Brazil, discovering quickly that the family either have no idea of his connection to the deceased or, if they do, are deeply hostile. Tom, a very urban graphic designer, is firmly out of his depth, especially when threats from the brother of the deceased, Francis (Iano Salomão), become increasingly real. Yet, things take an unexpected turn as Tom comes to relish the abuse he’s subjected to and sinks further and further into a disturbing new persona.
As the narrative plays out, Francis’ mother (Denise Del Vecchio), along with Tom’s colleague (Camila Nhary), play their part in Tom’s descent. Many heady and fascinating themes are touched on while the deceit that Francis and Tom construct to mask Tom’s homosexuality and their own confused feelings for each other gradually falls apart. During all this, most of what the show could ultimately be about gets crowded out by a focus on the sadomasochistic and obsessive abuse that forms between Francis and Tom. So much of the play becomes these two physically and mentally tearing each other to shreds, usually with Tom on the receiving end.
It’s hard to tear your eyes away, but there’s a focus so unrelenting that wider lessons become hard to extract. This is partially thanks to the fantastic production values on display, which director Rodrigo Portella oversees with exceptional vision. The most striking feature of the production is its design, the whole show playing out on an almost completely empty and cavernous stage with a black tarpaulin sheet underfoot, anchored by black plastic buckets. The buckets come into play quietly when the characters wash themselves with the water inside, but loudly when they empty their contents on each other, turning the black sheet flecked and muddy, until the actors are performing on something that more closely resembles a swamp than a stage.
The design fits the text perfectly as affairs get muddier and muddier in the narrative, but the story this all serves may leave you feeling nothing except disgust and pity for two very tortured souls, from whose suffering there’s precious little to learn.
Based on the play by Michel Marc Bouchard
Adapted by Armando Babaioff
Directed by Rodrigo Portella
Set Design by Aurora dos Campos
Lighting by Tomás Ribas
Costume Design by Bruno Perlatto
Musical Direction by Marcello H.
Choreography and Movement by Toni Rodrigues
Tom At The Farm has completed its performances at The Barbican
