The Visitor - OMADA Theatre Company
Tristan Bates Theatre, Covent Garden - 20th July
Sometimes the repercussions of our actions can force unforeseeable changes upon our previously unquestioned daily routines. For Miranda and Morris, their resignedly repetitive existence within a World War II compound is compelled to change. Miranda's unthinking act of compassion in bringing home the injured 'visitor' pulls apart two people who have been brought into an unnaturally close proximity.
The initially unfathomable opening has a Pinteresque quality. Graham, the visitor, is more of a hostage than a guest. Gradually it becomes clear that almost no one is anywhere or does anything by their own volition: Miranda has to reuse the same old tea bag over and over again, Morris is forced to trade at The Mercantile, and all (bar Graham) only reside in this hovel because they were brought there, Nazi fashion, in a 'hot dog' van.
Notably strong performances come from Samantha Whaley as Miranda and Michael Armstrong as Morris. Both portray their simplistic and sheltered characters with great conviction and no hint of irony or derision, despite some of their obviously dubious opinions, such as Morris' fundamentalism. The smaller roles of Maxwell and Graham are also both carried off well, but are harder to play, given that the characters are less developed. The role of Maxwell is perhaps the most bizarre being an entertaining, but not easily recognisable, fusion of a gay Walter the Softy of the Beano fame, and the Artful Dodger.
The most disappointing aspect of The Visitor is that it is not longer. The alternative history of the play is slightly confused, and it is not clear whether the inclusion of a TV set and Marks and Spencer's carrier bag are intentional or unwittingly anachronistic. However, the variety of pace and tone would certainly sustain the intrigue of the audience well beyond the 45 minute running time, and a longer piece would allow the able writer and cast to really flourish.
Helena S. Rampley
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