A one-woman show, which explores gender through a set of twins who, inspired by the myth of Hermaphroditus, attempt to unite as one genderless being. I was apprehensive. I needn’t have been.
Whether or not gender remains the elephant in the room, the talent in every aspect of this production cannot be ignored.
Olivia Emden is immediately engaging, giving an assured performance from the opening line. She confidently guides the audience, inhabiting not just her principal role, of Bobby, the female twin, but also numerous other figures along the way. Emden’s fluid physicality is a pleasure to watch, and as the play unfolds, she emerges as an accomplished mime, growing and shrinking into old men, waitresses, a cat, and even an elephant!
Although the rhythm and emphasis within the speech was a little laboured to begin with, this quickly melted, and a more natural tone emerged. Emden also succeeds in creating a believable relationship with her twin, Bobby, despite him never appearing on stage.
As a production, it is totally immersive. The use of multimedia adds to, rather than distracts from, Emden’s performance, and the play itself. Projections underline the storyline and themes, and music choices are well pitched, supporting Emden in her creation of atmosphere and emotion.
Multiple sources of light onstage create interesting shadows and allow Emden’s characters to control the pace of the production, which certainly adds something. However, her face is sometimes obscured during pertinent lines of the text, and I wonder if this consequence could be avoided, whilst the device retained, if constant low level stage lighting was utilised in addition.
Edward Eustace’s direction maximises on the potential for humour, which, combined with Emden’s powerful energy, ensures that the audience are absorbed, as the performance never lacks pace. The use of gloves is striking and effective. I do wonder, however, whether Barbie’s twin wouldn’t be Ken, rather than a bear! The total darkness definitely has an impact, but lasts perhaps a little long, as again, it became distracting to be missing Emden’s face.
The play itself is memorable, mainly for the distinctive style Bethan Kitchen establishes within it. Her use of language is interesting, and highly entertaining. The ending is stunning, quite haunting; beautifully written, emerging from the unusual journey of the play as a natural but unforeseeable conclusion, and Emden is enchanting as she portrays an amazing jumble of emotions.
Whether or not gender remains the elephant in the room, the talent in every aspect of this production cannot be ignored.
