Genteel musing on the effects of old-age after a life fully lived
Although Norwegian playwright Bjørg Vik’s award-winning play has been staged all over Europe, this production marks its premiere in the UK. Translated by Janet Garton and directed here by Wiebke Green, the story is a both a fantasy and an appraisal of old age, and the sacrifices we make to carry on living a fulfilling life.
Edith and Oscar Tellmann have been married for nearly half a century, enjoying a lifetime of travels and adventures. Now in their 80s, they find it more difficult to get about, so they relive their travels without leaving their rather dilapidated apartment.
Surrounded by dodgy plumbing and what may well be the neighbourhood’s entire cat population, Edith (Annabel Leventon) recreates the sounds, smells and memories of a life well lived. But writer Vik also exposes their past. Edith still feels guilty that she was unable to have children, and Oscar (Tim Hardy) frets that his lowly income couldn’t afford them a sustained, comfortable retirement. They are happy in each other’s company, but the mental and physical impairments of old age loom.
Vik introduces two more characters whose lives bring some unexpected perspective: a genial plumber, who easily falls into their fantasy, and an enthusiastic home-help with a few tales of her own to tell. In a deft piece of character development, Vik gives us an idea of the short distance between middle and old age. Regret can stay with us for a lifetime, and gnaw into your soul – so we must try, like Edith, to master the art of living.
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Green’s production sees this charming one-act play blossom with all the strength and complexity of an epic. Kit Hinchcliffe’s traverse set design, littered with books, papers and tired furnishings, captures a sense of genteel decay. You can almost smell the damp, but thankfully not the clowder of cats – the felines are conveyed only in Julian Starr’s subtle sound design.
The acting is refreshingly unlaboured, with two sympathetic, gently paced performances from Leventon and Hardy. The energy brought in by Nathan Welsh as cheery plumber Chris, and then Charlotte Beaumont’s Vivian, is palpable. At first they seem such very different creatures, breezing noisily into the Tellmanns’ quiet life. Then, gradually, they are assimilated into the fantasy world, drinking wine and eating antipasti in St Mark’s Square. Suddenly the differences between them aren’t so great.
The subtle message of Vik’s play is uplifting, cautionary and, as our population ages, sharply pertinent: it draws attention to the mental health issues – loneliness, anxiety, depression – as much as the physical challenges.
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