CTR - Review of Seven Words For Love

Seven Words For Love

Tue 26th – Sat 30th May 2015

reviews

Elizabeth Crowdy

at 00:02 on 29th May 2015

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Twisted Willow Theatre’s piece Seven Words For Love offered an interpretation of the different forms of love experienced in life, and presented the audience with an engaging concept, and some truly moving writing. The weaving together of agape, storge, philautia and eros amongst other aspects of love is often startling and poignent. This production is worth seeing for its innovative concept, and appeal to universal human experience.

The play was slightly slow gaining momentum, and the first half had less energy than the second. The plotlines of extra-marital affairs, love with an age-gap, caring for a stranger and love that endures disability seemed a little one-dimensional in the first half, yet picked up pace in the second half and fulfilled the potential of the writing. The visual and intellectual parallels drawn between characters and plotlines in the final scene formed one of the most enjoyable parts of the play, as it connected the different ways of conceptualising love, and allowed the audience to see how the love of different characters resembled/differed. Though the printed word ‘agape’ was perhaps slightly too obvious, the metaphor of the jumper was a powerful tool in conveying the simplicity of a gesture and the connection of love of humanity between the plotlines.

There was some striking acting throughout, with Jonathon Totman standing out in his portrayal of a homeless man who examines the futility of love and existence. This character was strong from the start through to the end of the play, and his final scene succeeded in chilling the audience, and forcing a disconcerting introspection. Kim Komljanec was also a success: her central part in the mindfulness scene provided a much needed boost of energy to the play, and she delicately balanced the comedy provided by Tom Elis with the inherent tragedy of the scene.

There were some aspects of the play which fell short: the scene changes were clunky due to the large amount of props, and the music was a little too quiet to distract from this. In a small theatre such as the Corpus Playroom, any protracted waits between scenes are prominent: the choice of soundtrack was excellent, and by making it more of a presence, this could have been covered better. Some scenes were a little forced, and the interactions between Martin and Sarah and David and Christopher sometimes lacked a certain force. Despite this, all scenes were thought-provoking, and uniform in their close engagement with the different concepts of love.

It was refreshing seeing a piece of theatre in the Corpus Playroom that was not dominated by students, and I encourage those who have time to enjoy this exploration of the multi-faceted idea of love. With a little more energy which will come as the actors settle into the show, this will be a captivating piece of theatre.

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