Review: THE WOODS, Southwark Playhouse

The woods are a common allegory within theatrical productions, used to blur lines between reality and dreamscapes, between the fairytales we indulged in as children and the stark reality we face. More often than not, they're used in horror films - as things happen in the seclusion of The Woods that simply would not happen elsewhere. For David Mamet, The Woods are used as a backdrop to a relationship turning sour - as a couple of city-dwellers, Nick and Ruth, escape to a secluded cabin for a 'romantic' getaway.

From the outset, it's clear that the relationship within The Woods is not built upon equal footing. Often described as a "battle between the sexes", it paints Ruth as an over-talkative romantic, wanting to share everything about herself with her partner. Nick is disinterested, often too consumed with his own thoughts to stop and listen to what Ruth is saying to him. As a result, the pair go round in circles. Ruth wants to go for a walk, to feel the rain on her face, to share stories - Nick wants silence and stillness. Told over three acts occurring in a single evening, the relationship implodes.

The revival of this 1977 play marks the first London production of The Woods for 25 years - and perhaps for a good reason. Mamet's production, an exploration into the fundamental differences between men and women, reality and lies, and ultimately violence, feels a little stale. Unlike the wine that Nick and Ruth drink on the lakeside porch, the play has not aged so finely, and as such, its exploration of gender is simply outdated.

Mamet himself may not think so kindly of the script - not only did it fail to reach the acclaim of his more notable works, but he also placed a 10-year ban on the show being performed in New York in 1985. As a result, its revival is surprising, especially when he has a catalogue of more dynamic work to devour.

Despite being weighed down by the script, Francesca Carpanini (Ruth) and Sam Frenchum (Nick) give solid performances. Making her UK debut, Carpanini takes scraps of characterisation from the script and elevates them to new heights, giving an incredibly nuanced and believable performance.

Frenchum is petulant and disturbing as the man-child Nick, inexplicably described in the programme as "his author's mythical hero." Despite the character being irredeemable, Frenchum's performance is layered and entertaining. Together, the pair do a great job with their material, supported by Russell Bolam's sensitive direction.

Praise must also be given to the set design from Anthony Lamble and lighting design from Bethany Gupwell, both of which are artfully used to demonstrate the isolated woodland setting, creating an atmosphere that matches the tension and tone of script perfectly.

Overall, The Woods is an interesting watch, if only for the talent of the leading duo and the impressive staging. However, in a world where gender discourse and debates are continuously more varied and nuanced, Mamet's play is a product of its time and is no longer a hot take on gender politics.

Check out rehearsal footage of the production here.

The Woods is at the Southwark Playhouse until the 26 March