State Theatre Company and Frantic Assembly’s offering of Bovell’s THINGS I KNOW TO BE TRUE taps into our undying fascination with familial relationships, and the way in which they tackle it, taps into our hearts.Bovell’s shattering text is punctuated by stunning moments of physicality, working beautifully together to deliver a multi-layered and meaningful story.
Geoff Cobham’s set transforms as the play unfolds, starting very minimal and growing into a physical manifestation of this family’s troubles. His lighting design serves to sometimes settle audiences, with a starry-night quality, but then sometimes unsettles us with harsh changes which truly compliments Bovell’s unique and slightly jarring plot structure. Nils Frahm’s compositions subtly lift us through the piece.
Bovell’s writing is frighteningly easy to relate to, it relentlessly peddles through some heartbreaking and hilarious moments which are handled without fear and with care. Co directors Geordie Bookman and Scott Graham have done an exquisite job with the text, steering us through a story with meticulous attention to detail. I particularly enjoyed the juxtaposition of stillness and movement; highlighting the unsteadiness of the Prices’ world.
One particularly poignant moment being when the parents (played by Ewan Stewart and Imogen Stubbs) share a tender moment dancing, whilst their children look on. Stewart and Stubbs both deliver very strong performances, they work together brilliantly to create a layered and honest portrayal of an unremarkable marriage.
Particularly stellar performances also come from Natalie Casey and Kirsty Oswald, who play sisters Pip and Rosie. Casey’s Pip is effortlessly lovable and intensely strong and Oswald gives a heart-wrenching performance as the ever hopeful Rosie. It is a perfect marriage between raw, honest drama and physical theatre. With its complex look at relationships, human flaws, the stings of grief and romance; this show is shattering and will leave audiences breathless, it is a must-see.
You can imagine how electrifying DR FAUSTUS must have been when it was first performed to a 16th century audience of Christians and indeed people who'd face persecution for atheism.