Eleanor Hope-Jones is a rising talent to look out for. In her second penned play, Darlings, which previewed at the Alma Tavern in Bristol last week, she demonstrates a flair for colloquial writing that is both exacting and full of metaphorical substance.
The subject matter itself will perhaps appeal more to the twenty-something generation but the skills invested in both Hope-Jones’ writing and directing make it worth a watch.
The small cast are an able young crowd. Katie Anderson plays protagonist Eve, who lives up to her Biblical namesake’s downfall, having succumbed to temptation when in search of comfort from her unfulfilling life. In a simple but well used studio set, Eve’s garden of Eden roams about the spotless white bath tub around which the play centralises.
Growing up in the shadow of her father’s critique, that foreshadows a life of lustful sin, Eve is marked right from the innocent days of childhood. She grapples with her past and present selves and relationships with her father and ‘we’re not together’ ‘friend’, Gabriel, played by Toby Robertshaw. Wrestling with her imperfections, she attempts to escape the mould that her perfectionist father cast for her despite his recurring absence as she grew up.
She spends scenes climbing in and out of the tub attempting to cleanse herself and wash away Eve’s sins, her body, her mind and her loathed self-image. While the bath is a symbol of purity, the garden winds in the complexities of growth and maturity: references to the suggestively mundane, ‘adult’ task of cultivating an orchid finally defines her acceptance of her own relationship with sex.
Anderson moves beautifully and has a great sensitivity to the music and time, using stillness effectively in her physical repertoire. Gabriel, unable to be the support that Eve covets, struggles with his own hangover from childhood experiences. Robertshaw and ‘third-wheel’ waitress, Annie Philbin, show good sensitivity in their interaction with the haunting puppets that convey these anxieties.
Philbin’s role is complex and sparks questions. She is both present and not present in Eve’s situation. An imagined threat to her relationship (with Gabriel) that Eve can’t get out of her head.
The actors are sharp, slick and well rehearsed although a little attention to greater naturalism in the delivery of the easy dialogue would add to the quality before the Edinburgh run.
Palomar Theatre can be found at C Aquila, Venue 21, in Edinburgh from 2 – 27 August (except the 14th).