Boston Marriage, 18 to 22 October, Burton Taylor: As a playwright noted for his modern masculine writing, Edward Mamet changes direction in Boston Marriage with a tale of a turn of the century lesbian relationship from across the pond. Don’t expect countless explicit scenes of woman-on-woman passion though, because apart from a final steamy clinch, this is almost strictly an affair of sharp-tongued dialogue characterized by tense and witty interactions.Anna and Claire are two women living together, whose connection is put under pressure during a number of revealing exchanges, exposing the complicated nature of an undefined and ambiguous relationship. Both clearly have different expectations of their domestic arrangement, which means that when Claire discloses an association with a younger girl, the balance is tipped, as each grapples to regain control over the situation.Set solely in the front room of their house, the claustrophobic space contrasts dramatically with the openness with which the two women talk, as a mixture of thoughtful and utterly brutal discussion provides an honest commentary to their state of affairs. The waves of tension are evident, and though they are something which is recognizable in many relationships, here the setting gives them a different resonance. Director Tom Littler has deliberately manipulated and stylised the rhythms within the play, lending the piece a rather unnatural overall feeling, and while this can be momentarily distracting, it pleasingly mirrors the contrived nature of the scene itself. It actually comes a relief when the maid (Lily Sykes) provides some instances of obvious humour, during which the audience can relax before returning to the friction of the bickering couple. Mamet’s script is undeniably compelling. The speech is generally old-fashioned, but it is punctuated with unanticipated modern interjections which break up the rapid and unabating conversation. Caroline Dyott and Victoria Ross both put in fine performances, capturing the essence of a relationship in crisis. Although he has few obstacles to overcome, given the script and the performances, Littler has acquitted himself well.ARCHIVE: 1st week MT 2005
