Review: Frantic Assembly’s ‘The Believers’

[pullquote style=”left” quote=”dark”]

“Name one certainty…

one sure thing,

one thing you truly believe…”

[/pullquote]

The music affronts you from the moment you enter the theatre. Tense and urgent, this opening is characteristic of Frantic Assembly, and gives an indication of the hard-hitting events about to unfold on stage. The Believers is an intense drama, confronting you with two very different families thrown together, and the unease, a feeling which is evident in every move and gesture of the fantastic cast, is palpable. Eileen Walsh (Marianne), who Boar Arts interviewed about her role in The Believers, is joined by cast members Richard Mylan (Ollie) , Christopher Colquhoun (Joff) and Penny Layden (Maud).

As the lights come up, we find a family dealing with loss, events unfolding in medias res. The fantastic use of physical theatre, for which Frantic Assembly is renowned, helps to create a feeling of restricted space. Although the set, designed by Jon Bausor, is minimalist, it is beautifully so, and the use of props, tall wooden frames, create walls where there are none. He is the designer behind the opening ceremony of the London 2012 Paralympic Games and his skill shows.

Of course, the message of the production is one of the most important things to consider. As with so many productions by Frantic Assembly, this production deals with highly sensitive issues. Where Lovesong encouraged us to question what love is, and how to navigate the minefield of human relationships, The Believers challenges our belief in belief. Over one stormy night, the lives of both families are changed forever and the theme of loss is explored with great dexterity.

Helping this exploration along is Bryony Lavery’s script, which is forthright and challenging, dealing with the subject matter in a simple and clear way. And yet, the morals are ambiguous, with no clear right or wrong. As the characters develop, we see their viewpoints develop and change. One character, Maud, undergoes a transformation internally as her world and conception of selfhood is rocked to the core. Carolyn Downing’s music documents these developments, adding another layer to the tension of the play.

The climax of the play is exquisitely done, and has the air of a Greek Tragedy. We do not see the tragedy itself, only the prelude and after-effects. This is when the play is at its most emotionally scarring, and silence permeates the theatre, allowing you to feel the pain which is etched on the faces of the actors. Everything is beautifully done, and the flashes of light and sound echo the storm which has catalysed the events of the play.

There is a constant interplay between humour and tension, although the undercurrent of anxiety and uncertainty pervades every moment. The two couples who form the centre of the action, although completely different, have an engaging rapport and conversation flows easily between them, conferring a realism upon events that verge on the supernatural.

The use of space is incredibly creative, and Scott Graham and Eddie Kay, in their roles of Direction and Choreography, make full use of the set. We see the relationships of the families from many different angles, and the constantly changing perspectives obstruct the possibility of feeling completely at home with these characters. The lighting, overseen by Andy Purves, works in concert with this, using blackouts to transition to the next scene, meaning we never know where to expect the cast next.

Although this is at times hard to watch, it is well worth the hardship. Everything, from the set to the acting, combines to create a scarring exploration of loss and love which calls into question the fundamentals of what it means to believe. The cast rise to the challenge of portraying these characters with ease and grace, and ultimately pull you into a highly intimate and yet understandable saga, which needs to be seen to be fully believed and understood.

The Believers is playing at Warwick Arts Centre until Saturday 15 March, after which it continues on tour to Leicester Curve Studio and The Tricycle Theatre, London.

Lovesong, by Frantic Assembly, is available from Digital Theatre.