Considering how much I loved The Effect – a show which has stayed with me strongly even three years on – there was little doubt in my mind that I had to go see People, Places and Things at the National. But the cost of tickets put me off – £35 quid in previews and all of the cheap seats sold out! What was a girl to do? The situation was not helped by the general sold-outness of the shows – if I didn’t get in, I was going to miss out. Argh! Fortunately I remembered I had a credit slip from my cancelled trip to Everyman, so I was able to tell myself I was really only paying 20 quid and just went ahead and bought a ticket. There, done.
I’m glad I did, because People, Places and Things is a very interesting look at a slice of modern life I haven’t seen on stage much: addiction recovery. That said, this was also hit quite recently by The Motherfucker with the Hat, and one particular aspect of twelve step programs came up in both: the “give up responsibility for yourself to God” or something like that, it’s the big issue I have with twelve step programs as well – what’s the point if it’s going to be so focused on the Great Sky Father that I don’t believe in? Emma (later revealed to be named Sara, Denise Gough), the protagonist of People, Places and Things goes through this mental journey quite convincingly – I very much enjoyed the opportunity to see an almost Shavian confrontation with modern bullshit philosophies.
Earlier on, though, when Emma checks in to the clinic, we get an extended section of classic Headlong work as she comes on to whatever drug she ingested before she walked in the door and then starts coming off of the anti-anxiety meds (and God knows what else) she’s become addicted to. The exit signs warp and twist (thanks to some excellent animated projections – I hadn’t realized they weren’t real), the tiles on the walls slowly warp and float away, and an entire bevy of Emma clones come crawling out of the bed she’s been sleeping in. It was an excellent depiction of hallucinations and nicely captured the unreality of what Emma was going through, including all of the vomiting and loss of bladder control.
Almost a third of the play seems to center on Emma’s experience dealing with the group therapy aspect of the treatment, and, while this provided a great opportunity for many members of the cast to show their chops, I didn’t really get a good feel for how it was supposed to work in terms of her experience. Clearly, when she embraces doing it, we’re meant to see that she’s had some kind of internal change that has pushed her to committing to the program, but exactly what this is is never revealed; and, unfortunately, it’s this giant missing plot point that undid the play for me. So many good performances, such a well-crafted production, and yet the script completely failed to deal with something so very vital to character evolution – ultimately letting down the whole evening. While this is a very engaging show, I think Duncan Macmillan is going to have to find something a little more solid than Wile E Coyote’s outlook on life to get us to buy into the overall arc of this play. Ah well, it nearly got there.
(This review is for a performance that took place on Thursday, August 27th, 2015. It continues through November.)
Tags: actually the projectsion were good, Denise Gough, Headlong, National Theater, National Theatre, People Place Things, please no more animated projections on stage, this time the projections weren't so bad