Theatre in Wales

Theatre, dance and performance reviews

At the Torch

The Torch Theatre- A Prayer for Wings , Clwyd Theatr Cymru , March 3, 2001
The set cleverly yet concisely hints at the whole ethos of the play. Entering the theatre gave the immediate impression of entering a musty, decaying church; the faint smell of stale incense; the still imposing church window; the simple but effectively used straw lighting; the carefully chosen ecclesiastical music, which permeates the whole play; the audience almost the congregation. Amongst the clutter and mess of second-hand furniture, an ancient dresser with carefully arranged china takes pride of place - a hint of Mam's pride and dignity before her illness; the same pride that caused them to move from Neath and become almost reclusive, 40 year-old Mam not wishing to be known or seen as a "cripple" (she has M.S.). Mam's old-fashioned notion of being able to cope without outside help is really what turns the church, which is Mam's sanctuary, into Rita's prison.

So, they live in a dilapidated, redundant church in Swansea, its former grandeur brutalised by the unsympathetic addition of electricity meters and domestic clutter; where the old hymn board doubles as a notice board, and the font has become the kitchen sink. Even the solitary houseplant is dead - longing for life, just like Mam and Rita.
Rita enjoys telling us how her God-fearing Mam never went to church when she was living in Neath and well enough to do so. Yet true to the old-fashioned order of Welsh puritanism, Mam (whom we learn became pregnant at 20, outside wedlock) wants Rita (also 20) to be respectable, believes that sexual pleasure is wrong and detests filth - doubly ironic, given the surroundings in which she lives, and her bed-time reading - a tatty copy of "Ideal Home" magazine. Rebellious Rita consequently delights in using the word "filthy", and occasionally resorts to a deliberately provocative use of foul language.

Both Helen Griffin (Mam) and Catrin Rhys (Rita) performed with great sensitivity, conviction, emotion and intimacy, engaging closely with the audience in their "sing-song" Swansea accents - See! Neither was afraid to use eye contact to evoke a sense of sympathy within the audience. At times it felt as if I was best friend to each in turn as they confided their innermost thoughts, worries and fantasies. At other times I almost felt like a member of the jury, listening intently as each woman presented her own case. This was quite an uncomfortable feeling, as though a decision between them would have to be made.

Helen Griffin gives an outstanding performance as Mam. Her pain, both physical and mental, is very evident. Her eye contact with Rita is a cri-de-coeur - she longs for Rita to be compassionate and a "good girl". Conversely, Rita makes very little direct eye contact with her Mam - she longs to break free. In her desperation she constantly tells us "I'll go with anyone", such is her desire to be needed and loved; but by her ideal man, not by her crippled Mam. Catrin Rhys depicts Rita's torment admirably (You call THIS life?).

Ben McKay's brief appearances as the various boys in Rita's life are convincing in their naivety - we the audience almost feel like " peeping Toms " as Jim, when he drops his pants, turns shyly to the audience to see if anyone is looking!

Sean Mathias' play reminds me on the one hand of Pinter - with its strained relationships, awkward silences and menace. (Will Rita go as far as to kill her Mam? She is very sorely tempted at times.) At other moments I hear echoes of Becket's "Waiting for Godot". Mam and Rita go through the same mundane routine every day - waiting for life - a prayer for wings. The play ends with release for both; Mam dies alone, crying for her Rita, and moves on to eternal life. Rita comes home, discovers that she has found her ideal man, and then that her Mam is dead in bed. Rita's weeping "Mummy" exclamation at this realisation comes too late for her Mam to hear. Mam's prediction that Rita would find her ideal man when she is dead and gone proves to be accurate.

A wonderful production - don't miss the opportunity to see it.

Reviewed by: Elaine Atack

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