‘The Effect’ review
‘There are strong performances across the cast, under the impressive direction, and they truly bring the humanity of these characters to the stage.’
Fourth Wall’s impressive production of The Effect opened in the Head of Steam this Monday and is truly a show to be proud of. The cast and crew have tackled a difficult space for performing in and have made the most of it. Through the use of minimalistic set, they evoke the maximum effect, and truly given the actors the best canvas to work from. The performers are lit in a soft pink and yellow glow that which aids the growing tension throughout the show.
The Effect by Lucy Prebble explores the relationship between love and the mind. It follows Connie and Tristan, a pair who have agreed to participate in a clinical drug trial. As they fall in love, the two begin to question whether it is genuine or simply a product of the drug in their system. The play explores the ethical dilemmas within drug trials and grapples with questions surrounding agency, identity, and the consequences of our own actions.
Co-Directors River Blatch and Oscar Dunfield-Prayero, assisted by Milly Lovering, create a slick show and evidently provide the perfect amount of room to allow the actors to play with these complicated characters. It is not easy feat to tackle a play with themes of this level of complexity and intimacy and these two do not shy away from the challenge at all.
Gabriel Cardy-Brown is transfixing as the free-spirited Tristan. He is a natural performer who has taken a difficult character and moulded him into someone the audience naturally connect to, despite moments where they likely wish they didn’t. Without ruining any surprises, there is a particularly tense and physical moment which is approached with a level of expertise one rarely sees on stage. You hate to watch it and wish to turn away - yet you simply cannot for want of seeing what he does next. However, Cardy-Brown doesn’t only excel in the intense moments but in the softer and more comedic moments of the play. He delivers the quick-witted dialogue with such a casual tone that it feels effortless and never forced; he really explores the full range of emotions.
Opposite him, we have Alice Toner as the much softer Connie. Toner’s performance is remarkably sympathetic and gentle. Her characterisation is strong and never ceasing, even in the moments where there is other dialogue taking place you can constantly see her thinking and pondering her next decision; this really enhances the authenticity of her performance. Connie’s journey in the play is not easy and Toner takes on the challenging moments with confidence and skill. Her emotive range is equally not to be doubted: she conveys fear, adoration, reluctance, and confusion all through a raised eyebrow. You cannot help but watch her final moments in the play and wish to stand up and applaud before the final curtain.
Equally, the chemistry between these two is palpable. They navigate the dynamic and tense relationship between their characters with a tenderness which really places the audience in the uncomfortable position of wanting to root for them yet doubting it. There is an excellent series of moments in the play where the actors are creating a montage with short snapshots of the relationship which really shows the development of the pairing and how they have blossomed into their love.
Alongside this pair, we have Nefertari Williams playing the awkward Dr James who is truly a joy to watch. Williams really explores Dr James’ growth and the difficulty that she has ethically with managing this trial in a controlled environment. Williams balances having a control and command of the space and highlighting the quietness within Dr James in the one on one moments opposite the other characters. One of my favourite moments of the piece was her monologue in the second act - you feel helpless as an audience member watching the gradual mental degradation and the evident struggle that she has kept internal for so long.
Opposite Williams, we have Iphis Critchlow’s interpretation of Toby. Critchlow is commanding as the person in charge of the trial and exudes power over the other actors. They certainly succeed in maintaining the power dynamic between themselves and Dr James, which makes for the quieter moments between the two of them in the second act to pack more of a punch. These moments are paced really well despite the fact there is a lot of dialogue and information being explored.
Overall, this production is certainly one to be proud of. There are strong performances across the cast, under the impressive direction, and they truly bring the humanity of these characters to the stage.
By Lauren Williams.