Review: DIALEKTIKON, Park Theatre

Ex Nihilo Theatre Group bring the world première of Jacky Ivimy's Dialektikon to Park Theatre to close out the year in Park90, playing alongside Peter Pan in Park200. Directed by Adébayo Bolaji, this 100-minute play is an alternative option to the usual festive fare that's on offer at this time of year.

The only problem is that it takes a good hour or more to really get any kind of grip on what you're watching. Going down the expressionist route is absolutely fine, but it is vital that you lay down a strong foundation before you dive right in; being certain about what the protagonist is there for, and who it actually is you are watching, would allow your mind to wander a bit more freely through the rest of it. What is clear is that Miranda is having her own kind of Alice in Wonderland moment, though whether she's dreaming or experiencing these things for real remains ambiguous.

Miranda is accompanied by the mysterious Ayida Wedo, who guides her through a dark and bizarre world that's inexplicably populated with a group of historical figures (some more well known than others): Allen Ginsberg, Herbert Marcuse, Gregory Bateson, RD Laing and Stokely Carmichael.

Always lurking in the background is The Servant, a tempting, devilish figure intent on sending Miranda down what Ayida deems to be the wrong course - her idea of teaching providing no room for error or compromise. Though given that the term 'dialektikon' refers to a rhetorical question that is immediately answered by the person who posed it, this approach isn't necessarily surprising.

Given that its current running time is longer than advertised, it wouldn't hurt to cut down some of the play; at times it is far too abstract and seems to meander aimlessly away from any kind of point, so it would benefit from a slightly tighter run. The message of courage, kindness and righteous anger that Ayida preaches is an important one, and especially timely now, even if it is delivered in a slightly patronising manner.

Bolaji is an artist as well as an actor and director, so you do rather expect the show to excel from a visual standpoint - indeed, the whole aesthetic of the piece is definitely the best thing about it. Carl Robertshaw's designs are vivid and full of expression, combining well with Joey A Frenette's costumes and makeup from Alexia Valentina Serghiou (this is particularly the case when it comes to The Servant).

There are also some great bits of lighting design from Jonathan Samuels, especially later on in the play. Having an original score performed live by Stanley Ohios and composer Kate Luxmoore injects a bit of much-needed energy in places.

There are some committed performances from the company, notably Adrian Decosta's intense portrayal of Black Power leader Stanley Carmichael, and Benjamin Victor's larger than life actualisation of The Servant, equally menacing, offensive and puckish.

Mary Nyambura feels slightly wasted as Miranda, as her character doesn't seem to have to do much other than stand and listen to her lecturers, before miraculously changing her personality rather than gradually adapting as she learns more.

What results is a rather self-indulgent piece of theatre; it doesn't offer much novelty in terms of its message, and is too opaque to follow for the most part. Challenging audiences is one thing - leaving them completely lost is quite another.

Dialektikon is at the Park Theatre until 29 December

Picture credit: Amoroso Films

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