What a joy to see Coyle’s ‘Timeless’ on its first night of two at 53Two, Manchester. Sarah Lawrie producer for Mixed Up Theatre and director Charlotte Peters have brought to life a wonderfully touching piece of theatre, perfectly suited to intimate spaces. ‘Timeless’ has already earned several five-star reviews from its performance in London (2018) and playwright Coyle has also been shortlisted for the Bread And Roses Playwriting Award twice, (2015 and 2017).
The entirety of the play unfolds in Martin’s (John Rayment) living room, a modern rocking chair, rug, side table with family photos and a standing lamp create a snug space, evocative of the average persons' living room. A stool stage right in stark contrast to the cosy living room becomes an unsettling other location throughout the play. Martin is a happy go lucky London cabbie with ‘The Knowledge’ but he has a problem, he has been unable to retain new memories since his last trip to the dentist, Martin regales us in the style of a chatty cabbie through his daily habits and reactions to the drama of those closest to him and we are drawn in as one would be by a friendly cabbie on a ride across town. But Martin’s enthusiasm for making the most of his situation at times slips, his frustration bursts forth and the tiring effect his condition has on those around him becomes more apparent as the play progresses.
John Rayment was a delight to watch, his engagement with the audience was endearing, a voice most believable of that of a cabbie, one used to immediate chatter and rapport with his clientele. Rayment has a physicality and strength in his performance indicative of a seasoned performer. One moment of the play had me bursting into tears and as I wiping the tears away suddenly laughing again, Rayment’s ability to deliver heart felt emotion alleviated by comedic moments made what could have been the heaviest of subjects bittersweet and most enjoyable. Director Charlotte Peters steered what must have been a most challenging feat for Rayment, a play that’s change of scene and pace felt itself like a winding cab ride through London.
Matthew Radway’s lighting and sound design added to the sense that we were on a cab ride, scene changes were punctuated during the darkness by the sound of a cab’s indicator, its tempo increasing throughout the play which emphasised the tension building and people’s patience fraying. Simple and effective lights up and down for scene changes gave Rayment the time needed to compose himself for a scene change or shift in emotion, the timing of these spaces was impeccable, keeping up with the play,s changing pace.
I would highly recommend ‘Timeless’ to any theatregoer. Hard subjects are
so often best approached with comedy. Comedic relief is most needed when
sensitive subjects are broached that could have a heavy impact on it's audience
and ‘Timeless’ most successfully teetered between
making us feel real sympathy for Martin, not the most innocent of souls, but a
character we were on-side with. A big thumbs up from me.
Reviewer - Kerry Ely
on - 13.10.21
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