Lovesong (Oberon Modern Plays)

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I think the reason it was so particularly hard-hitting was that even though physical theatre elements and explorative strategies created a non-naturalistic effect, the original plot beneath it is an entirely realistic depiction of a couple’s lives together and shows how being so in love and having each other as a constant shields them from recognising how quickly the things around them change until they’re near the end of their lives. Another way in which Maggie and Margaret connected their characters was through the use of Brechtian-style gesture; both often pursed their lips to show displeasure.

Cox is equally pitch perfect as the old man grown irascible, haunted by a sense of loss except for one thing, the most important thing, his boundless love for Maggie. Projecting the image reminded the audience of this conversation, and added to the sense of loss and grief that both William and the audience felt when Maggie died. Whilst these furnishings were used beautifully for seamless entrances and exits of the actors (such as when Maggie walks into the wardrobe, and the younger Margaret steps out) the rest of the spacious stage was left empty; allowing room for scenes of elaborate physical theatre.

The kitchen and bedroom of Maggie and Billy's house, where the walls were never scribbled on by longed-for children, are stalked by the ghosts of their younger selves: the smooth-skinned, radiant Margaret (Leanne Rowe) and William (Edward Bennett). Past and present literally intertwine as the older and younger couples move around each other across the stage.

Though widely performed in the south of England over the last decade, we’re delighted to bring this beautiful and haunting drama to the North East. If this sounds tricksy (add in powerful video backdrops and an intensely moving underscore), it isn’t – all is perfectly pitched and done with beautifully judged finesse. This created a sorrowful ambiance, as it proved hard to watch a couple who were once so passionate and full of adoration for each another now have nothing left to say to one another. Fugee (National Theatre), 27 (National Theatre of Scotland), Love Song (Frantic Assembly) and The Mistress Contract (Royal Court Theatre). An aspect of the set left open to interpretation was the use of the autumn leaves scattered across the stage floor; I believed this was symbolic of decay and time passing.Both men wore brown button down shirts, whilst in one of the scenes Maggie is seen wearing a scarf of the same blue colour as the dress Margaret was wearing in the previous scene.

Often when both couples appeared in the same scene together, the young couple were lit in a soft, warm coloured lighting whilst the old couple were often left in darkness. Soft music was used on a number of occasions in the background of scenes with fluid movements between the younger couple, and enhanced the intimate atmosphere. Frantic Assembly is the operating name of Frantic Theatre Company Ltd, a Registered Charity, no 1113716.I say ‘watched’ but frankly I could only gaze at the play through tearful eyes; it is deeply moving without being in the least sentimental, achingly sad without being morbid. However, their marriage survives his addictive tendencies, temptations of infidelity on both sides, and an inability to have children that affects them both profoundly but manifests in different ways. This image linked to the earlier conversation between Maggie and Bill, when she told him that she would want him to relive memories and revisit places they’d been together when she was gone.

Join Frantic Assembly Associate Simon Pittman as he leads you through a physical creative task inspired by the rehearsal process for our production of Lovesong.That powerful image of time as a viscous fluid, disappearing before our eyes, gradually leaking into oblivion, came to mind while watching ‘Lovesong’ on Digital Theatre. Her television work includes My Fragile Heart, Murder, Sex Traffic, Tsunami – The Aftermath, White Girl, Royal Wedding, Birdsong, The Hour, River and The Split.