Elodie Vidal reviews a thin production of Stephen Belber's Tape at Trafalgar Studios
Theatre endeavours to represent human emotions, and for this reason is often at its best in the form a small cast trapped together in a room. To this extent, the new West End production of Stephen Belber’s Tape is given ideal tools to work with: the premise of three old friends discussing a long-forgotten secret in a hotel room and a narrative developing in real time, all in the intimate atmosphere of Trafalgar Studios. Yet, the show doesn’t quite pull it off.
The play opens with the reunion between high school pals Vince (Marc Elliott, Eastenders) and Jon (Darren Bransford) in Vince’s hotel room in their hometown of Lansing, Michigan. Vince has returned to support Jon in his participation to the Lansing Film Festival. Soon however, Vince directs the conversation to Amy, the girl they both dated in high school. He accuses Jon of raping her ten years ago and wants him to confess. After much confusion and anger, Jon obliges. Vince then reveals he has been recording the conversation, and that Amy (Kate Loustau) is on her way.
For this production, director Thomas King makes the double-edged decision of not interpreting Belber’s chara and ignores anything these three performers might bring to the stage to make this production unique. Jon is only as self-righteous and guilt-ridden as his lines reveal. Amy is mostly calculating and used to bring about the surprise ending. Elliot's Vince, whose state of intoxication causes the show to oscillate between humour and aggression, only makes sense as a drunkard or comic relief. He sets a tone between drama and comedy that often feels discordant.
On the other hand, King’s approach does highlight the qualities of Stephen Belber’s script, making this new version of Tape an entertaining, if not particularly memorable piece. He ensures Vince is positively endearing in his instability. At times drunk and funny, at others hurt and turbulent. He unwittingly makes himself the victim of the play by instigating events he cannot control and must watch Amy and Jon go head to head with the expression of a child watching his parents fight. He also reinforces the text’s feminism, as Amy takes obvious pleasure in torturing two men for speaking in her name. As for Jon, his everyman flaws are inescapable. If he is capable of rape, then are we also?
By choosing to rely too heavily on the script and not flesh out the characters, this produciton of Tape limits itself to displaying a series of moments, and denies its audience the lasting overarching feeling that encourages further reflection. Nonetheless, it succeeds in emphasising the qualities of the original script, pulling this production back where could have fallen badly.
Tape runs at Trafalgar Studios until 10th November
Review by Elodie Vidal
Image: Alexander Ford Photography
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