Set in an extreme but terrifyingly realistic world in which women’s bodies are controlled and monitored by the government, Turning Point Theatre Company’s Covenant highlights the impact that banning abortion has on women. Bonnie, played wonderfully by Nell Lang, wakes up after a night-out knowing something is wrong. Her friends Gen, Margot Pue, and Rachel, Catriana Tashjian, attempt to convince Bonnie that she is merely hungover but, when Bonnie discovers her own blood-soaked sheet, the true events of the previous night are revealed.
I won’t discuss the plot here, much of the suspense derives from the twisting journey both Bonnie and the audience are taken on, but it is highly effective. Writer Laura Walker has crafted a script that simultaneously grips and haunts the audience. You don’t want to see what comes next, and yet you can’t look away. The script is aided by Issy Cory’s dynamic direction. Despite the naturalistic nature of the piece, occasional moments of choreographed movement help craft an atmosphere of mystery and dread. Through these moments of movement, we are made to feel as Bonnie does. Overwhelmed, terrified, and unsure of what to do. Cory is also in charge of sound design, and perhaps this is why the use of sound, and lighting (designed by Robert Moran), was so effective in helping to create this atmosphere.
Of course, a strong script and mature direction mean little if the cast cannot deliver. But Lang, Pue and Tashjian more than rise to the occasion. Lang expertly toes the line between effectively displaying Bonnie’s selfish tendencies and highlighting her many vulnerabilities. Pue perfectly captures Gen’s desperation in trying to save Bonnie from any dangerous repercussions for her decisions, whilst knowing she could ruin Bonnie’s life in the process. It’s an immensely complex role, but Pue embues Gen with all the necessary layers. Tashjian’s Rachel acts as the mediator, almost mother figure, to the group. While Rachel could have quite easily become the slightly lifeless ‘go-between’, Tashjian play’s her with depth, warmth, and a sense of endearing yet saddening responsibility. The three performers have excellent chemistry and I hope to see them work together again.
I only had two issues with the show. Firstly, when Bonnie, for the first and only time, directly addresses the audience during a monologue. While the monologue is wonderfully written and performed, it felt out of place. If Bonnie has not spoken to us before, and does not speak to us again afterwards, why does she suddenly know there are people watching her? It felt slightly like taking the easy route to justify Bonnie’s self-reflective speech. Could she not have spoken to herself rather than looking into the crowd? When it comes to ‘fourth-wall breaks’ I’ve always found consistency is key. Either establish that the characters are telling the audience a story or allow them to flourish in their own world. Don’t try and have your cake and eat it too.
Secondly, there is always a danger in political plays that the characters become vessels to demonstrate the writer’s views, rather than people in their own right. For the most part, Covenant avoids this, with the characters’ discussions and the plot itself expertly delivering the show’s message. However, in a monologue where Rachel essentially summarises the plays’ themes, I felt like I was listening to the creative team, rather than Rachel herself. Again, it’s wonderfully written and performed, but it felt neither necessary nor realistic. Can you think of a time when you were deep in a crisis but were suddenly able to deliver a beautifully worded political message? When the rest of the play so expertly delivers the message while remaining true to character, this was a small step too far.
Nonetheless, especially in light of recent legislation, Covenant is a must-see show. Haunting, thought-provoking and expertly crafted, watching it is an experience that will stay with you for some time.
Reviewer: Ben Pearson
Reviewed: 16th August 2024
North West End UK Rating: