Review: DUET FOR ONE, Richmond Theatre

There is always a risk in seemingly simple dramatic two-handers. Where there are no visual tricks, no impressive set changes or sparkling costumes, the whole play relies on the chemistry and repartee between the two actors. Robin Lefevre's excellent revival of Tom Kempinski's Duet For One needs no trickery to make its simple structure incredibly compelling.

On the surface of the play, there is nothing new to see; a traditional psychiatrist probes the mind of a patient unwilling to accept their current situation and future. The patient slowly comes to terms with both their past and what is to come. However, this play cleverly peels layers away in a manner that captures the audience so they are immersed in the story of the patient and then the doctor.

The play was first shown in 1980, and it is testament to Kempinski's skilful writing that it remains fresh, relevant and totally current.

The play follows world famous violinist Stephanie Abrahams as she tries to come to terms with the progression of the multiple sclerosis that has left her unable to play her beloved instrument. She seeks the help of psychiatrist Dr Feldmann to try to find a meaning in her life without the ability to play music.

This subject matter could very easily tip into a mawkish wallow in sentimentality, but both the writing and acting is subtle enough to avoid this. There is no glib commentary, no happy conclusion, but a difficult journey to a type of acceptance.

Belinda Lang is superb as tortured musician Stephanie. She conveys the torture behind the dismissive façade without sentimentality. The audience empathises with her, but never tips into simply feeling sorry for her. Her behaviour veers from manic positivity to anger; she is often unlikeable and rude, which simply serves to make her more human. She conveys the pain and visceral rage at her diagnosis and future in an incredibly multi-layered performance.

Oliver Cotton begins very much as the dramatic cliché of a psychiatrist; German, taciturn and seemingly distant. His quietly probing questions gently break down Stephanie's dismissal about her condition. As the sessions progress, he persuades her to explore her past and to confront the pain of her situation as the only way of moving forward.

It is not until the end of Act 2 that the audience witnesses any cracks in his calm veneer; it would be easy to dismiss his character as a plot device for Stephanie's development, but Cotton is authoritative enough to convey how essential the character is. His sudden explosion of emotion towards the end of the play is both powerful and thought provoking.

Lez Brotherston's set of the Doctor's study is detailed enough to be of interest, but not too much to distract. John Leonard's sound design makes full use of the beauty of the violin to convey even more poignantly what Stephanie has lost.

This is a deceptively simple play; beautifully acted and skilfully directed. It is compelling, clever and deeply moving.

Duet For One is at Richmond Theatre until 28 October, then touring

Photo Credit: Robert Day

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