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ZiWen Gong (she/her)

The Unseen | Riverside Studios

After premiering in the US in 2009, this time, The Unseen, which is written by Craig Wright and directed by Iya Patarkatsishvili, comes to Riverside Studios to open up a discussion about the state of people under a totalitarian regime. More than telling a story, this production is more of a philosophical one.


Wallace and Valdez are two strangers who are imprisoned for some political reasons and have been communicating daily through the walls. One day, Valdez suddenly tells Wallace that a woman has been living in the cell between them (which Wallace thought was uninhabited), and has always communicated with Valdez with the sound of knocking. Wallace can't believe what he's saying at once, and debates with Valdez while listening to him spout his theories. During their conversation, Smash, a prison guard, arrives occasionally, interrupting the two men's exchange.


When entering the theatre, it is as if you have entered a prison. The stage (Simon Kenny) is divided into four main sections. The downstage area has three spaces made out of concrete. On the very left is Valdez's cell, and on the very right is Wallace's. The two men's cells contain pretty much the same things: a worn bench, a plate, a bowl, a spoon, and a bucket. There is an empty cell between the two. Not only is this space a constant reminder to the audience that there is no one there, but it also feels like a void, as if something is missing.



The upstage area is made as a platform where Smash often walks around on when he makes his appearances. Many buzzers are hung on the wall at the back of the stage. They go off every now and then, interrupting the two men's conversations. Before the story begins, Valdez and Wallace are already on stage. Valdez stands in his cell, staring worriedly into the air, while Wallace lies on the floor asleep. The lighting (Anna Watson) is dim and slightly claustrophobic, accompanied by the dissonant sound of a violin (Mike Walker), making the atmosphere even more taut and solitary.


This sense of isolation is also deepened by the design of having only three actors in the entire show, not to mention the fact that it's only Valdez and Wallace communicating most of the time. Because the two are in different cells most of the time, they don't see each other, and their eyes rarely meet, as if they're both talking to the air. The three actors portray their characters with distinct personalities, and the three strike a delicate sense of balance. Waj Ali's Valdez is convinced of his beliefs to the point of being a little worrisome, but even with this conviction he struggles to move on from his anxieties. Richard Harrington's Wallace has a natural sense of humour, although not intentionally emphasised, it's clear that he is exhausted from his imprisonment. And Ross Tomlinson as Smash has an almost innocent brutality and an erratic kindness.



However, while there is always philosophical meaning in the dialogue between the three, it doesn't provide the audience with enough chance to get to know the characters. Even by the end of the play, there is still a sense that we have only just begun to understand them. As a result, even when the issues pointed out make sense, the topics discussed seem somewhat conceptual. If the play could have spent more time delving into these three characters, it would have made the audience care more about their fate, in addition to listening more intently to the philosophical implications of their conversations.


The Unseen runs at Riverside Studios until 14th December 2024. For more information and tickets, you can follow the link here.


⭐️⭐️⭐️ (3*)


Gifted tickets in return for an honest review | photography by Manuel Harlan

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