Performance of The Return by Natasha Stanic Mann at Pleasance Courtyard during Edinburgh Fringe on 14 August 2023 © Chantal Guevara. All rights reserved.
In this intimate devised solo performance, Natasha Stanic Mann attempts to thread together personal and historical narratives, but the execution falls short of its promising premise. Intended to explore the psychological remnants of war, the complexities of Yugoslavian identity and the poignant search for a new home free from oppressive legacies, the performance struggles to deliver a cohesive and impactful experience.
Stanic Mann possesses a certain delicate charm which, while endearing, unfortunately leads to a show lacking in the necessary tension and conflict that such heavy themes demand. The piece feels more like an unresolved work in progress rather than a polished production, with its sentimentality often overshadowing the substantial issues it wishes to address. As she navigates through the intricacies of the Yugoslav utopia, her personal relationship to Ukraine and its current invasion, and the echoes of the Croatian War of Independence, there are fleeting moments where profound insights surface.
However, the performance is punctuated with movement sequences that, although visually engaging, tend to last too long and disrupt any narrative momentum Stanic Mann manages to build. These interludes, while perhaps intended to enhance the immersive quality of the show, end up feeling more like filler material, padding out the runtime without adding substantial value or depth to the storytelling.
Additionally, the venue itself seems ill-suited for such an intimate and nuanced performance. The space does not complement Stanic Mann’s subtle style, nor does it foster the kind of close, reflective atmosphere that the content requires.
In an era where political theatre often verges on unsolicited didacticism, “The Return” unfortunately misses an opportunity to educate and engage an audience earnestly eager to learn. As a viewer, I was left intrigued by the snippets of a rich historical tapestry and the personal tales of generational trauma and identity. Yet, I walked away with a sense of incompleteness, yearning for a more thorough and compelling exploration of the topics introduced.
Stanic Mann clearly has a vision and a voice that could contribute meaningfully to contemporary theatre, particularly in exploring Eastern European histories and identities. However, “The Return” needs further refinement and depth to move beyond the realm of the anecdotal and reach into the collective consciousness of its audience.
Reviewer: Klervi Gavet
Reviewed: 8th May 2024
North West End UK Rating:
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