Writer: Selina Thompson
Director: Jennifer Tang
Selina Thompson’s new show, Twine examines her relationship with her adopted origins. Directed by Jennifer Tang, Twine takes a deep dive into this oft-forgotten reality in intriguing and unexpected ways.
The audience is greeted with a white curtain circling the front of the stage, evoking the state of the womb. Upon opening, we witness designer Naomi Kuyck-Cohen’s set, centred upon three “trees”, constructed out of beautifully entwined fabric, a dark material and stacks of bound files, representing adoption records. Striking from the start, the set suggests more than it evokes, hinting at the mangled ecological themes that run throughout the play.
The play is anchored by three actors who represent the sum parts of the whole of Sycamore, a figure who was adopted and holds unfounded grief from this past. Nandi Bhebhe features as Seed, the guide into the depths that Sapling (Angelina Chudi) and Bark (Muki Zubis), find themselves in. With all three symbolising one fractured, whole person, their thoughts and feelings collide, as would any conflicted person.
Uncomfortable truths about their birth parents come to light, conflicting with the perception of their childhood and where they come from. Fathers and Dads are brought in through a clever use of voice-over, while Bhebhe evokes a social worker and mother at other times.
The play itself cannot help feeling muddled, despite its insightful and rich moments. The family tree analogy appears only surface level, while the emotional beats never hit as the actors are not given any genuine moments to connect to the audience. The elements of song throughout the play are beautiful but overused, while Bhebhe’s characterisation of the social worker borders on annoying due to their over-acting and overtly big personality.
Ultimately, Twine is a play too rich with content for its own good, lacking a clear drive that an audience can hook onto.
Until 21 September 2024
The Reviews Hub Score
Ecological adoption play
