Directed by Kate O’Connor
Translated by William Gregory
Produced by Daisy Hale
Featuring Dilek Rose and Gareth Kieran Jones
23rd January – Saturday 16th February 2019
Many of us in the Western world have, at one stage or another in our lives, fallen into the trap of thinking that we can escape our troubles by travelling to a distant corner of the world. Sometimes, this even works, if just temporarily – but often we find instead that our problems have followed us on the journey.
This is the case with the unnamed Spanish couple in Cuzco. As soon as they arrive in their hotel room in Peru, the cracks in their relationship begin to show. She is afflicted by altitude sickness – or so she claims – and while he is keen to explore the city with newfound friends (another Spanish couple on the same Inca Trail tour), she refuses to leave the hotel. When she does, she is quickly overwhelmed by the city’s culture, so familiar and yet alien to her own, as well as the locals’ aggressive pursuit of Western tourist cash. The echoes of colonialism and the pervasive poverty of Latin America repulse her, but somehow attract her too, and as she is drawn deeper into the mysticism and injustice of the country, her relationship with her partner crumbles into irreparable ruins.
This is the first time Cuzco has been staged in English rather than its native Spanish, and I can honestly say that it is the best translation of a foreign language play that I have ever seen. Of course, this is despite the fact that I don’t speak a word of Spanish, and so have no way of knowing how faithful it was to the original – but often, translators become almost like secondary playwrights, moulding a text in their own creative image as they translate, and I suspect this was the case here. Chatting with a cast member afterwards, I was told that translator William Gregory was very present throughout the rehearsal process, and the result is poetic dialogue which flows beautifully in its friction, humour, tension, pathos, and conflict.
The performances from Dilek Rose and Gareth Kieran Jones are excellent. Rose is compelling throughout, even when utterly dislikeable, and while Jones’ performance is less consistently strong, his final monologue (“see, I can speak your language”) is gut-punchingly powerful. Another reviewer I spoke to was of the opinion that the two lacked onstage chemistry, but I feel this was absolutely an intentional and effective choice – this is a couple who don’t connect anymore, who haven’t slept together in a year, who almost never even look at each other as they talk. Instead, they largely face out towards the audience when speaking, or sit in silence, face turned away and emotions inscrutable. This partial view into their relationship is echoed by the staging; we see them in three different hotel rooms, each time from a different angle, and never outside these rooms. We come to feel that it is the only place their paths really cross as they have two very different and incompatible travel experiences.
This production is both slick and cuttingly sharp, modern and timelessly relevant, and I can only applaud the acting, translating, directing, and lighting, stage, and sound design. The only way in which it is let down is through its writing. Sánchez Rodríguez tries to include so many meaty topics – tourism, sexism, racism, mental illness, gender roles, colonialism, cultural imperialism, class privilege, child abuse, and more – that none of them are truly unpicked to the extent needed. Indeed, at times these topics are dealt with so shallowly and stereotypically as to be distasteful and disrespectful. This also means that the play is constantly running at high tension and drama that verges on melodrama, without the lulls and comic relief needed to provide emotional pacing for the audience (with the exception of a couple of truly witty anecdotes, such as one about a run-in with another, Dutch, tourist). I felt drained by the time we reached the play’s final climax, and found it difficult to care about the inevitable breakdown of the couple’s relationship, or her surreal existential journey. I do wonder if this can be attributed to cultural differences – perhaps Spanish theatre is simply turned up to a higher intensity than is normal in Britain.
That said, it took a couple of days of mulling over for me to come to the conclusion that the underlying writing of Cuzco wasn’t for me. Walking out of the theatre, I was incredibly impressed by what was an excellent production, and which I would certainly recommend for those who like their theatre at full emotional saturation.
Previous review: Romeo and Juliet: Mad Blood Stirring by China Plate @ Albany Theatre