Review: DOUBLE DOUBLE, The Barn Theatre Cirencester
Photo credit: Alex Tabrizi
From award winning writers Rick Elice and Roger Rees, The Barn Theatre presents Double Double, a reverse engineered two-hander that is impeccably well written. This romantic thriller was first produced at London’s Fortune Theatre in 1986, with its last documented performance (until now) at the Williamstown Theatre Festival Massachusetts in 2006, directed by Roger Rees himself.
When approaching the directing of this 40th anniversary revival of the play, there are undoubtedly large shoes to fill, but award-winning theatre director Ryan McBryde steps up to the plate. Also tasked with modernising something that has seemingly stood the test of time, all whilst keeping it authentic to its origins, is no mean feat but something that is achieved well through modern references. Being a two-hander in such an intimate space, there really is nowhere to hide for the performers or the audience! The subtle shifts in body language, looks and gestures all land impeccably and draw the focus securely into the action; there is one theatrical stunt that we are still trying to fathom! McBryde describes the writer's work here as containing elements of “Macbeth, Hitchcock and Pygmalion.” It is fair to say the play’s core narrative is rich in themes of identity being manipulated by ambition, appearance vs reality and deception, juxtaposed with a taste of romance.
Ethan Cheek has clearly considered the finer details in terms of set and costume design. We enter to an immersive view inside of Phillipa’s swanky, modern, contemporary London flat. Open plan, built in storage, minimalist but layered textures, backed by a smoked reflective back panel that adds depth and drama to the space. In combination with Jonathan Chan’s zoned, ambient lighting and Mark Melville’s sound design coming together within this intimate space, this gives a tense atmospheric vibe upon entrance to the auditorium that continues to intensify throughout. The audience are lured into feeling like we are actually watching what is occurring behind closed doors.
The primary plot line surrounds the character Phillipa James, played by Faye Brookes, as she seeks out a look-a-like for her deceased husband Richard in order to secure an inheritance. Sounds simple? The lookalike, homeless and very Scottish character Duncan McPhee, played by Daniel Brocklebank, brings edginess and unexpected challenges to the deal. We are drawn into his vulnerabilities, starkly contrasted with moments where he begins to feel quite dangerous. As we enter into the scene that should seemingly be a celebration of ‘Richard’s’ birthday, a test of the effectiveness of their deception and the penultimate hurdle before sealing the deal, the atmosphere thickens with a new unease, the black balloons, black clothing, black cake, crafted with deep lighting and music, Faye’s character moves with a demeanour that makes the audience edgy. To say much more would come with a spoiler alert as the psychological depth of this suspense driven, convoluted mystery thriller relies in the most part on the element and suspense of the unknown. That said, we feel a repeat viewing is almost essential to fully appreciate the technicalities of the show when less gripped by the plot!
Both Faye and Daniel are award winners in their fields, both with previous theatre credits to their names and are not strangers to one another, having both significantly featured in Coronation Street. They counterpart each other with a strong bond and a trust that adds to the enticing believability of their on stage relationship. Faye brings a polished upper class persona to Phillipa who we, at first, have little reason to doubt. Her timing and body language deliver comedic interjections to tense moments that cause a ripple of amusement through the audience in terms of her identifiable reaction to the absurdity of the situation, whilst still holding the room in suspense. This, juxtaposed with dark distinctive edginess, causes us as viewers to start to become uncertain how to respond and what is to come, uncertain of what is truth and what is a lie. Daniel featured in the TV soap for 11 years in the well known role of Billy Mayhew, so it is a compliment to his skill to be able to walk out on stage in such an intimately exposing environment and be openly accepted as someone else. It is also particularly commendable that Daniel has managed to perform following a recently relocated shoulder that became dislocated during the press performance, he gave a seamless performance with remarkable professionalism despite the injury; you would never have known. His characterisation is complex and requires much versatility and vocal skill as he fluently switches between the strong Scottish accent belonging to Duncan and the upper class received pronunciation he learns to embody as the replicated persona of Phillipa’s husband Richard.
The power dynamics shift throughout, consistently leaving the audience guessing. In pursuit of the narrative, we experience moments of vulnerability, romance, comedy and drama, all laced with a psychological thrill climaxing in an intense and truly unanticipated ending.
A thrilling, enticing and engaging story compiled from multiple modes of deception. What may first appear as a story of potential mutual saviour with mutual beneficiaries, soon transpires into a compelling collection of truth and lies.
“The lie must go on.”
***** Five stars
Reviewed by: Claire Baker
Double Double plays at The Barn Theatre Cirencester until 30 May, with further info here.