How can you prove your apologies come from the heart? Do we only express remorse because we crave forgiveness? Can we forget as easily as we can forgive? This short play, new writing delivered by an American University Company, tackles a lot of challenging issues and does so with great exactitude.
In a series of short stand-alone scenes we experience a wide range of folly and intimacy in human interaction, from flirtatious first meetings to the challenges of marriage and parenthood, and the self-condemnation of our conscience. It’s a challenging investigation and Laura Smiley’s astute script generally handles the discussion carefully and effectively. Whilst some scenes were engaging and piercing in their brevity, however, others were too abstract or introduced narratives too insubstantial, lacking in enough context for the audience to able to relate to them.
Equally, the multi role-playing actors varied in their skills of characterisation. Nick Benningerdisplayed the most range and strength in his performances, particularly impressive as a juvenile, unapologetic son and later a broken, terminally ill old man, enacting a surprisingly believable seizure. Unfortunately, other actors showed less distinction between their multiple characters and became merely vessels for the continued discussion of the theme. Characters became indistinguishable, occasionally unbelievable and lacking in substance.
The stage’s simple set up of four grey blocks was used efficiently for the various scenes, providing an austere atmosphere for the careful dissection of human relations. Regrettable musical choices, however, were made in the scene changes, often too loud and brash, disrupting the gravity of the scenes and increasing the sense of fragmentation.
Regardless of the varying levels of success of its individual elements, Acts of Contrition offers an involving and intelligent exploration of sorrow and forgiveness.
