Review: THE EFFECT, National Theatre
Photo credit: Marc Brenner
A brilliant cast and acclaimed director Jamie Lloyd bring us an updated revival of Lucy Prebble’s The Effect with minimalistic yet mesmerising staging.
Connie (Taylor Russell) and Tristan (Paapa Essiedu) have volunteered to take part in a drug trial for anti-depressants. When they fall in love, we question if it is real or a side effect of their increasing dopamine levels caused by the drugs. The pair are observed by psychiatrists, Dr. Lorna James (Michele Austin) and Dr. Toby Sealey (Kobna Holdbrook-Smith).
The set (Soutra Gilmour) and lighting (Jon Clark) are stark and striking which, with a corridor stage at the centre of the audience, successfully immerses us into the world of the trial. There’s a sense of foreboding created by the thudding, ticking music playing in the background. Other than a white plastic bucket (with a brain in it), there are no props; the actors do the work. The doctors sit on chairs facing each other at the ends of the stage. Fluorescent white squares light the stage under Connie and Tristan, like they are under a microscope. Their individual squares merge into one as they become closer.
The script is intelligent and humorous (we’d expect nothing less from Prebble of I Hate Suzie and Succession fame). Attitudes to mental health have shifted since the play’s first outing in 2012 and in this version, we see an all-black cast so Prebble has made some changes. There is reflection on psychological well-being, the ethics of drugs trials, race and class. “I’m a working-class Black woman, getting out of bed in the morning is a political statement”, Lorna states to Toby (son of a surgeon). Austin’s delivery is electrifying and funny, as is her entire performance – she’s magnificent. During a monologue, Austin transports us into the mind of Dr. Lorna (who suffers from bouts of depression). Holding the brain, seething, she speaks to it, saying out loud the cruel thoughts she has about herself. Uncomfortable to listen to, Lorna’s pain is palpable through the intensity of her pacing and powerful speech.
We are captivated for an hour and 40 minutes by all the performers. It’s easy to see why Essiedu is being hailed as one of the finest actors of his generation, he has real presence. He plays chatty Tristan with effervescence, charm and cheek, bounding around the stage and getting up in Connie’s face. We have no doubt that Connie’s initial reluctance to get involved with him will evaporate. Russell is impressive in her stage debut. Connie is exquisite and her chemistry with Tristan is convincing. This is cemented by an imposing and playful scene where the auditorium lights and white square flash on and off showing the couple in a different position each time they are lit.
Connie and Tristan’s liaison jeopardises the trial which enables some smart debate from the doctors about the relevance and ethics of what’s happening. An historic affair is also revealed and the chemistry between this pair is obvious too. Holdbrook-Smith (who isn’t involved enough for our liking), uses his velvet voice to portray the self-satisfied, posh shrink to maximum effect. He’s not that likeable, but by playing Toby as smooth with an arrogant air, it allows the audience to understand why Lorna got involved with him.
At its core, the play asks “what is love?” We don’t get any answers but that’s by the by. The Effect is well worth a visit. The staging is an artistic triumph and the acting is fantastic.
**** Four stars
Reviewed by: Victoria Willetts
The Effect plays at the National Theatre until 7 October, with further information here.