The Effect SUPAS Review

A quick foreword I want to slip into this review. The author of The Effect, Lucy Prebble is an alumnus of the University of Sheffield. So, seeing the University's theatre company putting on a production of her work felt like a lovely homage to the University, Prebble and Sheffield's theatre scene. 

The Effect is a study of love and neuroscience. It follows Connie and Tristan as they partake in a new clinical drug trial. This trial is overseen by the clinicians Dr Lorna James and Dr Toby Sealey. During the trial, Connie and Tristan fall in love. Subsequently, wondering whether this newfound love results from the drug's by-product, dopamine, or a real palpable connection.  

SUTCo's adaptation places the play's events after the COVID-19 pandemic. Coinciding with far greater attention being paid to mental health (specifically depression and anxiety) in society. Without making huge alterations to Prebble's book, this is woven into the play seamlessly. It's a rewarding choice. Merit must be given to the directing team, Emilia Lodge (director) and Amaara Qureshi (assistant director), for providing the play with a paramount contemporary setting. 

The play begins with some skilful projection (crafted by Mason Lugh) documenting the Pandemic and establishing the context of the trial which the audience spectates. While on the topic of spectating, I want to talk about some creative choices made by the direction team. The audience is engaged not only to watch the play but to participate in observing the trial. It's made overtly clear when the house lights are turned on as Dr Toby delivers a witty monologue on his past. Furthemore, the idea is reflected in the staging. Throughout most of the play, Connie and Tristan remain onstage, boxed onto a stage block. Their presence invites the audience to observe them as if we are monitoring them in the trial. It's another very sharp directing choice that pays off. The majority of the staging remains fairly simple, sometimes static. Albeit, more often than not this plays into the actors' hands, allowing their performances to shine in the moment.  

After the brief introduction, we are introduced to three of the four characters. Dr. Lorna James played by Abbie Wright, Connie played by Tilly Harradine, and Tristan played by Roberto Rowinski. Both Rowinski and Harradine give impressive performances. The pair bring a great understanding of physicality to their characters. Rowinski's Tristan is a smooth operator with a bodacious charm to him. A special mention must be given to his stellar dance moves too. Harradine's Connie is more reserved yet equally as convincing. Her subtle use of facial twitches and ticks, not going unappreciated. They both act marvellously, displaying a full spectrum of emotional range with ease. Although, in the pair's more fiery moments, some dialogue is lost due to messy diction. Forgivable when two actors display such conviction. However, despite the powerful performances, I felt the pair's chemistry was a little stunted. I struggled to fully succumb to the idea that these were two people in love. I think a key reason for this though, was how strongly I felt about the play's two other characters, Dr. Lorna James and Dr. Toby Sealey. 

Jamie Egan is terrific as Dr. Toby. When he and Wright's Dr. Lorna share the stage, the sparks fly. The underlying past between these characters is sewn so carefully in each actor's performance. Their chemistry as professionals is expertly balanced against their personal history with one another. Now, I don't believe a reviewer should often be overzealous when singing the praises of an actor. However, Abbie Wright as Dr Lorna was utterly mesmerising. She was unequivocally believable and completely moving. Wright brings Dr. Lorna to the stage fully formed. Her depiction of the level-headed professional was adjacent to seemingly effortless humour. She manages to exude vivid life from mundane medical procedures. Watching Wright bare her heart and soul as Lorna, was captivating. The raw emotion Wright evoked on the stage was staggering. It was truly a phenomenal performance. 

The rest of the production, headed by Grace Lowe (production manager) and Abby Broido (producer) matched its actors' talents. All the technical aspects of the play worked in consistent conjunction to bring the piece to life. I was impressed by the variety of Sophie Layton's lighting design. The lighting provided a fitting tone to the piece, alongside creating interesting motifs, that the staging played off of. The use of flashlights on stage was something I particularly enjoyed, immersing the auditorium, and transforming it into an old asylum. Ella Hulford's stripped-back, yet effective, set and costume design matched these efforts. Joe Edgar's soundscape was unobtrusive and neatly complemented the play. Overall, I thought this was the most technically interesting and complex SUTCo production I have seen this year. 

SUTCo's production of The Effect is a triumph for the society. You can see that outstanding effort has been poured into the play. Everyone involved should be deeply proud of this timely, stimulating play.