Review: HARLEY & ME, Lion & Unicorn Theatre

Harley (Danielle Williams) is undergoing a psychological evaluation after having been charged for a bank robbery. While the Doctor (Sharon Duffy) tries to get to the bottom of her bruises and prove her subjugation to her partner-in-crime and life Jay (Joseph Blunt in voiceover), the criminal slowly shows her hand. Written by Lucy Walters and directed by Georgia Leanne Harris for Tripped Theatre, Harley & Me is, unfortunately, a flawed and inconsequential piece of theatre.

The depths of this version of DC Comics' beloved but tricky-to-portray Harley Quinn remain largely unexplored, keeping her on as an only sometimes complicated role. The absence of references in the marketing material that lead to the presence of the character might be due to obvious copyrighting reason, but the heavy Northeastern American accent, the make-up and Jay's figure immediately imply that that's who is standing in front of the audience. Part origin story, part bland attempt at tackling domestic violence and dependent personality disorder, the play doesn't really hit the mark.

Even though the script has some instances of brilliancy, it's generally insipid and not that gripping. Walters checks off all the signs of assault, but the Doctor's retorts sound more like accusations than words of help. It's clear that, besides the delicate business of representing domestic abuse, her aim is also to draw a comparison between the two women and suggest the birth of another potential villain in the Doctor. Regrettably, it simply doesn't come off as intended.

The physical scuffles and grand discourse on their different interpretation of morale are left hanging there in order to tackle the abusive relationship Harley is subjected to. Running at 45 minutes, Harley & Me just doesn't cut it. Williams could be a compelling Harley Quinn, if only she'd been given a substantial chance. At this stage, however, she stalls and goes for the classic and certain route to deliver a stale antihero.

Confrontational and corny, Duffy plays the villain of this tale acting as Harley's backsplash. Direction wise, the show is, once again, very safe. With an in-the-round set-up (which is actually quite an unusual setting for the Lion & Unicorn), playing cards delimit the metaphorical boxing ring where the two face each other. Harris uses Ben Lloyd Ralph's lighting design to signify time changes and such, but it remains rather prosaic.

One moment could have stood out, had it been delivered more smartly: Harley is recalling the physical abuse inflicted on her by Jay and, for a second, it feels like it's going to develop into a movement piece, but never does, opting to turn into an imaginary beating set to music. Perhaps the story would hit differently if the characters were entirely original instead of relying so much on the established Harley Quinn and Joker.

This said, the production is (most probably) not seeking to ride the wave of Todd Phillips' just-released and divisive Joker starring Joaquin Phoenix. It might be a poorly calibrated play, but it's raising awareness for Solace, a charity that supports women and children who are trying to escape violence and abuse. Perhaps Harley Quinn deserves a different storyline after all...

Harley & Me runs at the Lion & Unicorn Theatre until 26 October.

Photo credit: Georgia Harris

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