Wired Theatre follow on from their show last year, And Love Walked In, with this new sequel, Always, With a Love That's True.
we discover the extent of his craziness, and the darkness of the script comes out
A wonderful piece of Fringe theatre performed under the direction of Sylvia Vickers, you certainly don't need to have seen the previous show to appreciate the brilliance of this one. We were invited into the director’s or one of the cast member's homes, this time on Colbourne Road, and treated to a skilled piece of drama. The unique location made movement easy and the acting felt close and real because of the setting.
We meet Andrew, brilliantly played by Robin Humphreys, in his study, pissed as a fart, and he rambles to us about how he wants to kill his wife’s lover. I understand we first met him and Piotr and the rest of the characters in the first play of what may turn out to be a trilogy. At this point, the play is relaxed. It is just beginning. The audience are settling into the theatre space and new sounds and movements are around us. But still, the atmosphere is charming and easy, and Humphreys brings us there.
Sounds are perfectly timed and in no hurry the drama starts to unfold, as Jo and Phyl, Andrew’s patient and her partner, join him in his role of their pseudo therapist. Jo, Angela Ferns, is a brilliant contrast to the sharp Phyl, Jackie Thomas; she’s been involved with Andy for some time. We start to see the glimmers of a complex and troubled life for our protagonist.
Humphreys’ movements are so well timed, precise and yet at such ease, we despair for him as he totters around the house and slugs from the vodka. We realise the depths of his sensitivity when his wife Sheila, Gillian Eddison, confident and feminine, returns home to him, and they cry together on the stairs.
Then we discover the extent of his craziness, and the darkness of the script comes out, Piotr visits Andy from beyond, and the script here is nuanced and later poetic.
The actors are perfect in and accurately portray their roles, delivering them exactly as they should. Humphreys’ acting is beyond this, down to the twitching in his eye bags as Sheila goes on about her ex-lover, and the shakes in his arms as Piotr’s ghost leaves him.
The romance in the play is subtle, in fact I don’t get the feeling that it’s that important, and I like that. It’s about people, individuals, their strange relationships, yes, but more about them individually and how life is strange, always.
