4 STARS, October 24-28. A moving and thought provoking production that explores the complex relationship we have with ourselves and those around us when life deals us a bad hand…
Originally staged in 1980, Tom Kempinski’s Duet for One is a compelling two-hander about a concert violinist who when struck down with MS decides to consult a psychiatrist to help put some meaning back into her life. Originally thought to have been based upon the life of the world renowned cellist, Jacqueline du Pre, a claim recently denied by the writer, it consists of several therapy sessions between classical violinist, Stephanie (Belinda Lang) and her psychiatrist, Dr Feldman (Oliver Cotton).
Stephanie first appears acerbic and brittle and not particularly likeable but this only serves in making us realise that we are not necessarily meant to like her as much as see her as being human. Belinda Lang is excellent as the stricken Stephanie. She plays her with a strong outer exterior but beneath we see the vulnerability brought about by the realization that her sole purpose in life, to play the violin, has been cruelly ripped from her. Her psychiatrist, a beautifully measured, performance from Oliver Cotton, chips away at her, slowly getting her to admit to the reality of the situation and to see that life can hold meaning even when we think all is lost.
There is plenty for all in this moving production. Any and all who have been through moments of anguish or despair will find some connection with the journey we’re taken on. It explores, love, loss, unfulfilled desires and most importantly, relationships. The relationship one has with oneself and with those around us. Primarily we hear about Stephanie’s husband, a successful composer, and her father, a domineering patriarch.
But it is the relationship between Stephanie and Dr Feldmann that intrigues the most and is the reason why Duet for One is so watchable. It constantly takes us between the different states of adult, parent and child. Feldmann, for the most part, remains in adult mode but occasionally has to take on role of admonishing parent to pull Stephanie’s petulant child back into line. In fact, when he tells Stephanie that sometimes you simply have “to get off your arse and fight”, it was as if every therapy session had been curtly summed up in one rousing call to action. Brilliantly delivered by Oliver Cotton.
This ‘to and fro’ between the characters constantly throws out questions to the audience. How will you cope when you seemingly have nothing left to live for? Who can you turn to in moments of distress? Your husband? Yourself? An alternative distraction? When and where will you be able to find meaning in life? In the past, present or future? Or all three? Perhaps the answer lies in one of the many heartfelt responses uttered by Feldmann. “The purpose of life is life itself”
Robin Lefevre’s production contains, pace, wit and pathos. Simply but effectively staged he allows the actors the space and time to grow and develop. Lez Brotherton’s set is decorous and naturalistic. Shelves full of books, records and CD’s and the light streaming through the large bay window perfectly capture the mood and provide the right space for the action to unfold.
But it is the performances in a two hander that have to work. The actors have to be able to build a relationship not just with one another but also with their audience. We, as an audience, have to want to go on the journey with them. Belinda Lang and Oliver Cotton, achieve this by beautifully capturing the cat and mouse, patient psychiatrist relationship. Indeed, Dr Feldmann’ aptly sums up the evening by stating “It is a journey, Miss Abrahams…we make it together.”
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