By Charlene Baldridge | Theater Review
Nick Payne’s “Constellations,” which opened April 14 at The Old Globe’s Sheryl and Harvey White Theatre, is at first glance a surface-simple, clever play about a young couple who meet at a wedding, or is it a barbecue?
Neither has had much luck at love. She’s a physicist who teaches at Cambridge University, and he, a beekeeper keeps a hive on the rooftop of his London apartment. In other words, they’re both nerds, but she adores honey.
“Constellations,” directed by Richard Seer, through May 8 at The Old Globe. (Photos by Jim Cox)
They leave the social affair together, and then at length try to decide whether he should stay or go. There is some doubt, eventually, as to whose apartment they are in, or perhaps the decision whether to get physical spans more than one evening. The audience is never sure of time and its passage — a slick demonstration of theories she tries to explain to the simple, good man that fate has placed in her life.
Roland tries to understand Marianne’s discourse about quantum theory and quantum cosmology, and she tries to relate to beekeeping in context of who he is. During their protracted courtship — numerous partings and reunions — he reads one of her papers, trying to understand what so obsesses her. Then he writes a paper of his own; to wit, there are three kinds of bees: the workers (non-reproductive females), the Queen (who lays eggs) and the drones (one of whom mates with the Queen and then dies).
The playwright pens numerous scenes, which blackout, then repeat, using the same words in different tones of voice, each progressing, then regressing, having started up again. Once in a while, earthy language about bees and ballroom dancing falls from the couple’s lips, even as they marry (or not) and experience life together (or not, we’re never sure). Then, suddenly, just as we become fond of the unlikely pair that have such difficulty communicating, and used to the intricacies of their dialogue, a surprising and poignant element appears (did I really hear that; yes, you did), develops to the max, and then, just as suddenly, returns us to earlier discourse as if to keep us from bleeding out right then and there.
Through the playwright’s intentionally scattered manipulation the challenged playgoer may enjoy or merely endure the puzzle of relationship. Some may feel used; others will be comforted.
Richard Seer, who is the Globe’s director of professional training and who has a long string of successful directing assignments to his credit, has the requisite sensitivity and depth to tackle this fragile play, which might be ruined in less adept hands. His actors, Christian Coulson and Victoria Frings have the disparate chemistry and unforced characterization to capture the nuance of such an improbable yet affecting relationship.
All other elements complement the work: David Israel Reynoso’s scenic design; Elisa Benzoni’s costume design; Bradley King’s lighting design; and Fitz Patton’s sound design. The circa 70-minute play is performed without interval.
—Charlene Baldridge has been writing about the arts since 1979. Follow her blog at charlenebaldridge.com or reach her at [email protected].
