After a five-year relationship, a girl is being advised by her lover on the phone that he’s leaving her to marry another person; hers is the one voice heard. A notoriously troublesome piece to stage successfully, it has been tried previously by Ingrid Bergman, Simone Signoret, Liv Ullman and Diana Fast.
Imprisoned behind a glass display that seems to be the window of her excessive rise residence, Wilson strikes via numerous phases of hope, acceptance, remorse, anger and anguish with delicate, propulsive company.
Van Hove’s updating of the context (vehicles and sirens and a distant management for her sound system) appears oddly juxtaposed with the social gathering line of her phone despite the truth that social gathering strains have been nonetheless in use into the early Nineteen Nineties.
Beginning in a cartoon sweatshirt and an overlarge jumper she hides her true emotions by trying to regulate her feelings and maintain her rising panic at bay.
At occasions her voice echoes to point her fracturing psychological state, furthering the concept that there could also be nobody on the finish of the road.
In her last moments, she swaps her informal garments for a shiny blue social gathering gown to deliver a synthetic gaiety to her situation of terminal despair.
As a portrait of loneliness, it’s devastating and if the wounded vulnerability and psychological disintegration of a betrayed lady could seem outmoded to some it stands up as a dramatic experiment.
I want van Hove had not included a vomiting scene, although.
Individuals who act in glass packing containers shouldn’t throw up.
The Human Voice at Harold Pinter Theatre till April 9 Tickets: 03330 096 690