Review: The Swan, The Werewolf and Gianpiero, Playground Theatre

The Voila! Theatre Festival proudly describes itself as “a meeting point for cultures, creativity, and theatrical innovation”. Given that, The Swan, The Werewolf and Gianpiero certainly fits the bill, but it must also wrestle with its own identity.

The timing couldn’t be worse for lovers Roxanna (Agata Nielsen) and Mateo (Erwin Janke), whose fiery break-up comes just minutes before they are due to perform a live tango routine. Knowing that they must still face the music, they perform a vicious sequence which captures the imagination of Gianpiero (Mateusz Mirek), a self-labelled genius director sat in the audience. Gianpiero is keen to work with the pair. However, he might have to tell more than a few white lies to convince them to star in his manipulative production.

The plot is, on the face of it, easy to follow but the lack of character backstories does confuse things. It becomes apparent that Gianpiero is some kind of billionaire with a large mansion and a magic gold crown (the purpose of which is tricky to ascertain). How he is so privileged, and why he is so willing to destroy Roxana and Mateo’s lives, remains a mystery. I’m all for unanswered questions, but leaving the audience completely in the dark is risky.

Our best indications of the personalities we’re dealing with are their costumes. Gianpiero’s hideous gold robes distinguish him as a pathetic snob with an uncontainable ego, whilst Roxana and Mateo simply appear too chic to be a monogamous couple.

Despite this, there is a strangely subdued atmosphere to this production. The Playground Theatre offers a large stage space, and when that is left as bare as it is here for the opening scene, the audience are already made to feel isolated. This means that, when actors break the fourth wall and collude with us, they aren’t given the response they hoped for. It’s important to judge what kind of punters you’re going to get and then adapt to them: one can’t just expect them to automatically indulge flirting and singalongs. 

What makes this production particularly frustrating is its vast potential. We could so easily be watching a gripping and twisted tale of lies and seduction if there was only that final spark. Perhaps these are unfair criticisms to make of a ‘comedy’, but I do think the show would be stronger if it committed to the melodramatic absurdity of the dancers’ situation. There are some good one-liners and the general sleaziness of the characters is clear. The script could just be a bit more assured and punchy.  

Nielsen’s play should be applauded for its truly original concept. Once a deeper essence is added to the piece, it will be able to fully spread its wings.  

Writer: Agata Nielsen
Consulting Director: Krystian Godlewski
Stage Tango Consultant: David Chartoriski
Presented by Drama Queen Studios  

The Swan, The Werewolf and Gianpiero plays at The Playground Theatre until Sunday 15 November as part of the Voila! Theatre Festival.