THE FAITH MACHINE: Play with Balls

THEATRE: Royal Court, London

DATE: 27-08-2011 (preview)

TIME: 19:30

WITH: Sir Ian McDiarmid, Hayley Atwell, Kyle Soller, Bronagh Gallagher, Jude Akuwidike, Alan Westway, Maya Wasowicz, Kesrena James

DIRECTOR: Jamie Lloyd

Playwright Alexi Kaye Campbell made an impressive debut with “The Pride” (Royal Court, 2008) in which he contrasted the ideals of English gays in the 1950’s with those in the 21^st century. “The Faith Machine,” his third play, also plays with different time lines, but paints on a much larger canvas. On the one hand it is a tragic love story and on the other about big themes like the relation between religion and capitalism. It is hugely ambitious, epic, funny and profoundly moving. Jamie Lloyd has given the play an solid production with a stunning cast. I doubt I will see a better new play any time soon.

The Faith Machine starts off with Tom and Sophie’s relationship breaking up in New York just before 9/11. Tom is in advertising and Sophie is a journalist with a big social conscience. Both could be seen as symbols of capitalism and faith, but the playwright, director and his cast are too smart to fall into that trap. The story traces the pair throughout the years and across the globe, jumping back and forth in time. Each act cleverly contrasts the present with the past, and shows how each action has a reaction. Like Sophie says, “..fucking karmic boomerang…every choice you make has its consequences.” There are also smart parallels between Sophie and her father, a Bishop who leaves the church because of its homophobic doctrine. Both father and daughter are highly principled and faithful (in their own way). And both pay a high price for this in a capitalist world in which these virtues are not practical and carry no value.

 Hayley Atwell & Kyle Soller

Newcomer Kyle Soller is a revelation as Tom. Soller’s ugly American could easily turn flat, but he endows him with great wit, intelligence, insecurity and a charming neurosis. His Tom is a stunning creation and he deservedly won Outstanding Newcomer at this year’s Evening Standard Theatre Awards (an award also won by the likes of Jake Gyllenhaal). Hayley Atwell (A View from the Bridge, Major Barbara) is also very good as Sophie. At no point does her character’s ‘goodness’ become tiresome, unrealistic or preachy. Atwell keeps Sophie human, sexy and interesting at all times.

 Sir Ian McDiarmid

Sir Ian McDiarmid is in excellent form as Edward,  a Bishop who is “shouting against the closing of the light”. His character is terminally ill and his battle with mortality is portrayed very poignantly by McDiarmid. He also makes the Bishop’s ponderings on stories and their metaphors deeply felt. One of the most memorably painful scenes has Sophie changing her senile father's diapers on the Greek beach. Both McDiarmid and Atwell are deeply moving in it,  while Soller provides some welcome comic relief.

The entire supporting cast is wonderful, but Bronagh Gallagher (sounding like a very dry Garbo) is sensational as the Bishop’s maid Tatiana. She is a victim of capitalism (being a former Russian prostitute) and  her politically incorrect opinions regularly bring down the house.

The play is blessed with Jamie Lloyd's insightful and compassionate direction. He does an amazing job in bringing form and life to the play’s many big themes. The brilliant director masterfully keeps the many plates spinning in the air and has elicited exceptional performances from his actors. The production, in which for example a bed transforms into a pile of books, is wonderfully designed by Mark Thompson and lit by Neil Austin. They ensure that the production swiftly moves to the various locations and beautifully give expression to both the big and intimate strands of the story.

 Alan Westaway & Atwell

Some may find that the playwright tackles too many things in his play and the reception of the British press was very mixed. I, however, was completly engrossed and moved by this epic play anchored in a tragic love story. The Faith Machine restores faith in the theatre, provides food for thought, and nourishment for the soul. What's not to love?