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Lovesong (Oberon Modern Plays)

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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 evoked sympathy from the audience for Maggie, as the shoes were representative of her youth; being unable to walk in them seemed like being unable to relive her youth despite her best efforts and clear sense of nostalgia. But it is also admirably clear-eyed about the ups and downs of a happy, childless marriage: the little betrayals, the thoughtless chatters of friends, the need to sometimes escape another person even if you love them, the lack of legacy, the terrible fear of turning into one of those couples "facing one another over a cooling cup of coffee with nothing left to say".

Whilst she was younger she often wore brightly coloured clothes such as her blue dress- this could’ve hinted at her aspirations for an exciting and vivid future, however as she grew older she wore colours that were much more dull- this could’ve symbolised her passion fading. Rather than just getting the bill and admitting we were on different pages we chatted about the similarities! The sadness of mortality, the sense of loss, is balanced by the delightful quirkiness of Morgan's text, which is by turns playful and illuminating. This worked particularly well in the scene where Bill and Maggie are laid on the bed, and Margaret and William are sat, perched up against the end of the bed. This created the impression of the old couple’s love and passion having burned out, whilst the young couple’s relationship appeared vibrant and optimistic for the future.One aspect of the direction which I found particularly thoughtful was the way that scenes which clearly showed Maggie and Margaret as being the same character, as an obvious choice would’ve been to have them speak some of the same lines or do some of the same actions- however this never happened. is a question we all ask ourselves as we grow older, and while this show may be shamelessly emotionally manipulative with its musical underscoring and videos of rising flocks of starlings, the manipulation of time that is most heart-stoppingly effective. Fugee (National Theatre), 27 (National Theatre of Scotland), Love Song (Frantic Assembly) and The Mistress Contract (Royal Court Theatre). 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. This moment allowed for the audience to confirm that the older and younger couple were in fact the same people; costume choice for both women and both men were identical.

Although subtle, this technique added depth to their characterisation, therefore making their characters even more believable for the audience. Video projections onto the back wall of the stage featured in some scenes, and often related to the event of conversation that had just taken place. Her plays include Skinned, Sleeping Around, Splendour (Paines Plough); Tiny Dynamite (Traverse); Tender (Hampstead Theatre);. The performance takes place in the kitchen and bedroom of Bill and Maggie’s house, which is stalked by the ghosts of their younger selves.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. The absolute precision and fluidity of movement that was choreographed created the sense of the performance feeling like an actual love song.

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