“An indented rule indicates a change in universe"
When
a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few
lines of Nick Payne’s play Constellations suggest a rom-com in the making as
time restarts and a new possibility plays out, it’s clear that there’s
something much more eloquently sophisticated at work here. Premiering at the
Royal Court upstairs, Michael Longhurst’s production manages to be both
intimate and epic, the story of two people somehow expanding to fill several
universes of heartfelt emotion.
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the
first few lines of Nick Payne’s play Constellations suggest a rom-com in the
making as time restarts and a new possibility plays out, it’s clear that
there’s something much more eloquently sophisticated at work here. Transferring
from the Royal Court upstairs to the Duke of York’s in the West End, Michael
Longhurst’s production sacrifices nothing in the scaling up to the larger venue
and if anything, gains in epic power.
When
a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few
lines of Nick Payne’s play Constellations suggest a rom-com in the making as
time restarts and a new possibility plays out, it’s clear that there’s
something much more eloquently sophisticated at work here. Marking the Broadway
debut for all concerned, Michael Longhurst’s production manages the
transatlantic transfer seamlessly and one wonders where the show could end up
next.
Woking.
After successes in the West End and on Broadway, Nick Payne’s play
Constellations is now touring the UK, starting off at the New Victoria Theatre
in Woking. Which is as good a place as any to see a rooftop beekeeper and
quantum cosmologist meet-cute at a party and find themselves exploring the many
possibilities that their relationship could take as scenes are played and
replayed, shifting their journey together subtly but ineffably into new places.
Sally
Hawkins and Rafe Spall. Perfect casting for the effervescent, wise-cracking
Marianne and the slightly nerdish but endlessly endearing Roland, their
intensity beautifully matched especially in the poignant flashforwards.
Sally
Hawkins and Rafe Spall. That perfect casting retained for the transfer, their
ease with each other and the technical challenges of the script even smoother
than before and if the larger venue challenged them at all, there was no
evidence of it.
Ruth
Wilson and Jake Gyllenhaal. All change for Broadway – Wilson’s immense
subtleties (is that an oxymoron?) made an ideal, if less kooky, Marianne and
Gyllenhaal gave an interestingly judged performance as Roland, less obviously
blokey but no less moving.
Louise
Brealey and Joe Armstrong. And to the tour, Brealey really makes her mark with
a more brittle, abrasive interpretation that contrasts so effectively with the
warmer moments, and Armstrong exudes a hugely likeable affability that you
would certainly chase across universes to find and keep.
Can
I really put my finger on why I like this play so much? Why I think it is one
of the smartest pieces of new writing that I’ve seen in recent years? I’m not
sure that I can.
It’s to do with the way it wears its scientific concepts so lightly – I mean I
couldn’t tell you anything about quantum physics right now but during the play,
it feels like maybe I could.
It’s to do with the all-too-human instinct to wonder what if I’d done that differently, what path might that have led me down.
It’s to do with the expression of such powerfully felt emotion that yet feels
intelligently reasoned.
It’s to do with free will.
It’s to do with love.
I cried a little bit. Well quite a bit.
I
cried so much I couldn’t speak for about quarter of an hour afterwards.
I
cried a lot, but a New Year’s Day hangover probably had something to with my
emotional state too.
I
cried a surprisingly small amount, almost just the artful single tear in fact.
Tom Scutt’s design is inspired – I don’t tweet him. Atom-based clusters of balloons
trail from the corridor into the theatre, hexagonal tiles mark out the physical
space the actors occupy, and Lee Curran’s lighting tracks the darkening mood
perfectly.
Tom
Scutt’s design is inspired – I don’t tweet him. Some of the finer details are
lost in the larger space but the evolving scale of the work is artfully done,
capturing something even grander about the emotional contours of the play. This
time, it is the sound design by David McSeveney that resonates stronger,
delineating each fundamental shift so clearly.
Tom Scutt’s design is inspired - I tweet him, I don’t meet him. It looks as
good as ever but the detail of Curran’s lighting is what captures my attention –
the shift in the flashes of colour through to blood red, the antiseptic white
of the harsh future scenes, the individual balloons picked out in lights with
their own secrets.
Tom
Scutt’s design is inspired – I tweet him, I don’t meet him and now I probably
never will. Since the show has been end-on, there’s been a key scenic detail
that I’ve missed every time. Every time. There aren't enough potential universes
to explain this. I need to go again.
Can I put my finger on why I like Constellations so much?
Even on my fourth viewing, there are details that come to me anew.
There are details that have still yet eluded me.
There are scenes that somehow pack a gut-punch as fierce as the first time - why wouldn't language shift that way.
There are replayed scenes that I could continue to watch over and over - notes in hand or not :-)
And in perfect keeping with the theme of the show, Michael Longhurst has kept the production the same but different, or is it different but the same in a remarkable way. Marianne may wear an almost identical outfit whether it's Hawkins, Wilson or Brealey wearing the shoes but she has exuded such a singular sense each time which has been breathtaking to behold. And partnered by the affable/affectionate/rumpled charms of Spall/Gyllenhaal/Armstrong, they've all been Marianne and Roland but their own Marianne and Roland and brilliantly so.
I loved it.
I loved it.
I loved it.
I loved it.
Running time: 70 minutes (without interval)
Photos: Helen Maybanks
Booking until 17th May, then touring to Liverpool Playhouse, Bristol Old Vic, Nuffield Theatre Southampton, The Lowry Salford, Cambridge Arts, Richmond Theatre and Theatre Royal Brighton
Labels: Jake Gyllenhaal, Joe Armstrong, Louise Brealey, Nick Payne, Rafe Spall, Ruth Wilson, Sally Hawkins