“Run away from your troubles white man” - Playland at Empty Space Theatre
Rounding off Black History Month 2019, Elysium Theatre brings us a moving two-hander of finding common ground on the outskirts.
Playland is a meeting of two men in Apartheid South Africa. One, a bolshy white man with a self-confessed bout of “religious indigestion”; one, an enduring black man, wrestling with the looming ever after. These men stand at the brink of a new decade, searching for redemption in the bright lights of the fun fair.
Athol Fugard’s text encapsulates some beautifully poetic moments without stepping beyond an honest representation of human conversation. Yet, we are afforded very little contextual foundation for their relationship. There is no clear impetus for the pair to be thrown into a scene together, leaving the cast with an uphill battle to build a rapport and develop a shared history. They embrace the challenge with gusto.
Faz Singhateh heads up a powerful opening before taking a stoic backseat to Danny Solomon’s colourful, boisterous lead. The pair balance each other beautifully. Each has their moment without ever falling into the predictable cyclicality that so many two-handers fall foul of.
Danny Solomon bringing Playland to life.
As Corporal Gideon Le Roux, Solomon impresses throughout a rampant narrative arc. He creates an aptly uncomfortable scene of New Year’s debauchery and escapism, as well as a traumatic battlefield memory, entirely on his own. Combining immersive sound and light with just a few props and a cleverly pared-back set design, from Louis Price, we enter the unhappy underbelly of Playland, wherein each man has his own space to dominate. With little more than some string lights and well-placed oil drums, Solomon both explores and shuts off the recesses of his memories.
Contrastingly, with minimal lines for much of the action, Singhateh depicts the unheard hero. He responds and reacts with clarity, free from melodrama. When given the opportunity to flourish verbally, Singhateh has already crafted a solid character. This largely silent, standstill performance builds consistently, so when he bursts forth from Fugard’s script, we can’t help but be heartbroken: “My heart can hate […] that is the only thing it knows how to do”.
Justifying their inner battles, there is a brief moment in which women are laid accountable for all wrongdoings. But gender is notably absent from this politicised production. Instead we watch as two opposites realise they are not so “other”.
Solomon, as Le Roux, asserts “those are not my people; any resemblance is purely coincidental”. In doing so, he defines the crux of this intimate production: two outsiders who are not seeking belonging, but forgiveness through human interaction.
We watch as these two opposing characters unfurl along their own personal trajectories. Whilst they tread upon common ground, Playland is careful to avoid clichéd fairytale endings that simplify or deny historical struggles.
Faz Singhateh play a strong, silent role for most of Playland
Jake Murray’s production of Playland is closing its northern tour this weekend! Don’t miss out on this intelligent and honest production playing in Manchester on November 2nd and Darlington on November 3rd. For tickets and more information, visit the Elysium Theatre website.
For an alternative spotlight on male interactions and opposition, read our review of Under Three Moons.
