Originally presented as a three-hander at the Finborough Theatre in 2016, Schism (which perhaps would be better titled Form Follows Function), has been trimmed to two characters, but still overreaches by attempting to cover-off every social ill and taboo still prevalent in society today.Harrison, a former architect with high aspirations who we learn settled for teaching, has his personal space invaded by a young wheelchair-bound student suffering from cerebral palsy. Katherine is both sick of being told to curtail her more outlandish ambitions and of being treated as an idiot in a remedial class. She demonstrates her proactivity and determination by identifying Harrison as the man who will assist her in breaking free from the constraints of a substandard education.
On the flimsy pretext that he once held open a door for her (and must therefore be an ally), she breaks into his apartment using a hairpin and presents him with her proposal. Why she didn’t just knock or arrange a meeting, is anyone’s guess. It’s the first of several unlikely and unbelievable occurrences we are encouraged to unquestioningly accept.
The second comes in the form of a novelty box. Katherine demonstrates her intelligence by managing to open a Himitsu Bako - one of those exceedingly complex wooden puzzle boxes made to occupy bored Japanese emperors, which Harrison advises can take years to decipher and which Katherine dextrously deconstructs in a matter of minutes despite her physical inability to even hold a pencil. We cheer for her internally; sage murmurs pass among the supportive audience, and this reviewer stifled a groan that he was being treated like an idiot by the actress playing the part of Katherine and indeed, the playwright -- who by happy coincidence in the guise of Athena Stevens, are one and the same person.
The rest of the play gradually flounders by losing its grip on reality despite everyone's very best efforts. Ms Stevens, has written a part for herself which is by turns rousing and irritating, complex and insufficiently explained.
Undoubtedly it was borne of the frustrations of being underestimated and under-utilised by a society which judges quickly and is singularly impatient for everything. I empathise with her predicament and she is clearly a game gal with a lot of talents, but cohesive scriptwriting is a skill she has yet to fully master.
Jonathan McGuiness as Harrison, presents a jaded, slightly cynical older man who is painfully conscious of society's view of teacher pupil relationships, (not to mention the age gap) and the fact that some nasty people think he is weird for getting his kicks by fancying an intelligent, attractive, capable, life-grabbing woman who just happens to be wheelchair bound and have physical disabilities. It's all very conflicting.
Following Katherine's unexpected announcement that she's pregnant (which seems to make Harrison exceedingly happy), she bizarrely internalises her criticism of his drive and ambition and terminates the pregnancy. Subsequently she tries to avoid all mention of this decision until a blood stained sheet brings out his protective instincts to rush her to hospital and triggers her confession accompanied by an incomprehensible critical onslaught of his ability to provide for their futures.
A fight ensues resulting in her hospitalisation but apparently no charges or arrest for physical assault. We then jump 6 years into the future where Harrison continues to mope around his apartment talking into a tape recorder about his former relationship, during which time Katherine has beaten all the odds, has become a renowned and celebrated achiever and has just completed construction of the skyscraper which Harrison long ago designed but only dreamt of building. Whilst this reviewer may have wanted to feel on cloud9 for her, it felt distinctly more like cloud cuckoo land.
Ms Steven's dialogue delivery takes a little while to flow to the ear, but she has written some great lines (many of which elicited guffaws) and has a gift for timing and visual comedy. The audience is ranged around three sides of the stage however, so occasionally the effect was lost.
McGuiness has a rumbling, growly diction which is a joy on the ear and the two play well together in their intimate moments, especially a scene involving IKEA furniture assembly.
If only the storyline were as neatly constructed!
This was my first visit to the White Bear Theatre in Kennington since it’s been refurbished. The pub is now spacious and airy, serving delicious looking food with a lovely beer garden at the back for early evening, summer socialising. The theatre has now moved upstairs and is a comfortable, focussed little space in which to enjoy up-close encounters with new writing and classics.