Review: DUET FOR ONE, Orange Tree Theatre

First seen in 1980, Tom Kempinski's powerful two-hander about a famous violinist stricken with multiple sclerosis and her therapist is a perfect choice for the intimacy of the Orange Tree Theatre.

Duet For One follows a series of therapy sessions as musician Stephanie moves from acerbic, self-deprecating wit to open hostility as she attempts to come to terms with her own demise. Her therapist Dr Feldmann patiently listens and gently provokes, pushing Stephanie to face life without her music, while subtly revealing vulnerabilities of their own.

As Stephanie, Tara FitzGerald begins the production deeply scornful, but gradually reveals self-hatred, childhood trauma and dark despair at losing her ability to play. Without her art, life loses its meaning for her. Fitzgerald is rude and often unlikable; veering from profound sadness to fiery rage and her performance feels like a genuine fight against the feelings of her character.

Maureen Beattie plays with silence as Dr Feldmann, listening to Stephanie with stoic detachment that suddenly evaporates in one shocking scene. Beattie rarely breaks eye contact with Fitzgerald, subtly nodding, with her hands softly clasped. Her vocal tone is calming, encouraging and carefully crafted in a very nuanced performance. Casting the character as a woman also shifts the power balance of the production.

Director Richard Beechan ensures the energy of the play ebbs and flows and brings out the dark humour of the writing, even though a couple of scenes outstay their welcome. The production is a stark exposition of acting abilities, with nowhere and nothing to hide. There are no set changes, no distracting costumes. It feels almost voyeuristic, as though watching a live mental dissection. Kempinski's writing deftly avoids slipping into sentimentality; there is no glib message of hope or a happy ending.

Simon Kenny's superb design takes full advantage of the unique space of the theatre; a deceptively simple, round platform with minimal props that rotates with almost imperceptible speed, allowing a constantly changing observation of the actors. It provides the necessary, yet subtle, movement in a relatively static play.

The inclusion of music played live is perceptive and feels entirely natural; Oliver Vibrans' incredibly beautiful composition feels like a vital addition and resonates deeply. It acts as punctuation to the production; reflecting, perhaps, the mental state of Stephanie and her connection to her playing. On press night, Gabriela Opacka-Boccadoro played with exquisite sensitivity and huge emotion.

It is not always comfortable, but it is enthralling.

Find more information and support on Multiple Sclerosis at MS UK

Duet For One is at the Orange Tree Theatre until 18 March

Photo Credit: Helen Murray

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