Nuria Haering gets to grips with the ins and outs of relationships in Cougar Productions' interpretation of the Neil LaBute drama.
Psychological manipulation, the human will, the nature of attraction… Such are the complex themes of Neil LaBute’s The Shape of Things, currently playing in the intimate performance space of the Cockpit Theatre.
Produced by the emerging Cougar Productions, a group of young artists seeking to interpret provocative works on a modest budget, the American playwright’s tense drama entertains but falls short of being the disturbing, challenging spectacle it is meant to be.
The relationship between shy, insecure Adam and confident, abrasive Evelyn takes centre stage. When the English Literature major meets the sassy art student at a gallery, he is enthralled by her defiance (she’s planning to spray-paint a lewd image onto a sculpture). Conversely, she is unapologetically direct about what she thinks of him: although he’s “kind of cute”, his lack of style could be improved on.
And so begins a love affair that is marked by Adam’s attempts to meet Evelyn’s approval. The script effectively portrays the nuances of Adam’s transformation; it is not a simple matter of cause and effect. When he starts going to the gym, for example, Evelyn simultaneously urges him to be more self-assured and also calls him out on his motives: “Don't do it for me!”
Meanwhile Evelyn remains untrustworthy; there's always an ominous sense that she has an agenda with Adam. But she's not altogether without depth, at times alluding to past troubles or waxing philosophical about art. Actress Eliza Power steals the show with her interpretation, managing to inject an unsympathetic character with passion and humanity. Without her, a lot of the dialogue would fall flat.
Adam, despite being a stereotypical dork on the surface, is likewise cryptic, and ambiguity is clearly the crux of the play. He is both pleased and ashamed of his personal changes. When he gets cosmetic surgery on his nose, for example, he feels the need to lie to his friends. Sadly Sam Ford’s interpretation of the role is not entirely convincing (which may not be helped by the fact that he looks uncannily like Tom Cruise). His performance is too understated. It is not until the final scene – a confrontation between Adam and Evelyn – that real emotion is conveyed.
Newbie director Catherine Robey achieves her goal of presenting Evelyn as a complex figure, and skilfully utilises a sparse set. There is however a distinct lack of momentum, so that the final climax feels overdue. Whilst there are enough scenes that adequately capture the tension and irony of the script, more consistency is required to really grip the audience – or at the very least, consistency in the actors’ affectation of American accents!
All things considered, though, Cougar Productions have been brave to tackle a play that is all about character and relationship psychology (my friend appropriately dubbed it “a cross between Closer and Cruel Intentions”). So it’s well worth keeping an eye out for future productions from this fresh-faced theatre troupe.
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