A young woman, Maia (Soraya Pouilly), awakens tied to a chair and blindfolded. She manages to struggle free, to rather unexpectedly find herself aboard a train, with three people observing her. Her newly acquired companions are a curiosity ; seemingly harmless but childlike. Their emotional detachment is an early tell as to the roots of this piece.
A slick, ambitious, debut performance
She finds that she is at the rear of a train. Her new friends cannot offer any clues as to where she is or how she arrived here. Nonetheless, they agree to accompany Maia on her quest to explore the train, carriage by carriage.
As they progress up the train, they meet a series of characters who offer opaque clues as to the nature of the train and its purpose. The narrative is interspersed by scenes between Leila (Chane) and the grim reaper.
Suffice to say, there is a profoundly existential aspect to the proceedings, which Maia eventually comes to comprehend. We realise the reason for the male companion taking multiple photographs is that he is capturing life moments. She is asked whether she is Buddhist and has a difficult choice to make. Leila’s role becomes clear and there is a gentle, touching scene between Leila and Maia.
There are many reference points and influences in this play. The piece is rooted in surrealism and the theatre of the absurd. Maia’s quest with three newly acquired companions brings to mind Baum’s The Wonderful Wizard Of Oz, the companions being perhaps allegorical to munchkins. There are definitely shades of Camus as well. The clear influence of Carroll’s Alice’s Adventures In Wonderland, an early exponent of the genre literary nonsense, is also in the mix: e.g. Maia has to find a key to open a door; the water dispenser labelled “Do not drink”.
Tellus Theatre Company deliver a slick, ambitious, performance – all the more impressive given that this is their debut. The script is layered and moving. The direction is tight and the physical theatre is well choreographed and executed. While all the performances are strong, Pouilly’s vulnerability is striking and the Chane’s story-telling and comic timing is delightful.
This production is not perfect- neither is it for everybody, but its relentless pace holds your attention.
The closing message from Night Train is that every life leaves an indelible trace on this world. So, of course, does this production.
