Caryl Churchill’s play is a taut little piece set in the near future, and deals with the outcomes of
cloning. Red Brick Theatre gives “A Number” a Northern interpretation. This performance was at
53Two, Manchester.
Performed in traverse, the set consisted of several pieces of quite dated-looking Victorian-style
furniture; and a table with a decanter and glasses for whisky, which was almost constantly in use. As
the father character, Salter, Joe Simpson shuffled around in a rumpled suit, glasses, and with a
walking stick. The effect was almost pre-war. He appeared to be the last man on earth to have got
involved with anything as high-fangled as human cloning.
Playing all the son characters was Tom Ryder; and in this age of personality casting, it is lovely when
an actor can show what he can do. Ryder had only minimal costume changes between characters;
but gave each person a distinct voice, movement style and personality. The three sons were still all
obviously cloned brothers; and the different environments they’d grown up in and the flickering
little differences in personality were enhanced with a crisp confidence that was a pleasure to watch.
Director Jess Gough was able to tease out what is a rather complicated story, and have each clash
sculpted into a shattering little scene. Ryder’s first appearance was as Bernard 2, raised by Salter
from birth, and only just finding out he is the product of cloning and that the DNA was illegally stolen
to make many more copies. Bernard 2 shuffled around in a drab top and glasses, looking very much
like a young version of his father. Having everything he knew about his identity up until that point
dissolve in front of him, his existential crisis was softly played but very real.
Ryder later appeared as Bernard 1, the original son that the clones were copied from. Extra directing
choices added a volcanic temper, a more underclass style of clothing, and an ankle tag. This was the
child that was put into care at four years old because his widowed father could no longer cope with
him. Naturally, Bernard 1 was now full of resentment, and having murderous impulses at the
thought of having been replaced with a clone. It’s not really answered in the play why Salter got a
problematic and living child cloned, rather than just starting again with a new family; and Joe
Simpson didn’t really answer it in his performance either. But Ryder’s display of explosive aggression
was very compelling.
And to finish with a more comedic uptake, Ryder finally appeared again as one of the unauthorised
clones: Michael Black. This is the first time this reviewer has seen the role played as an American.
Salter is trying to make amends for the past by meeting with the other clones, but Michael Black is
infuriating – one of those very laid-back Americans who is perfectly happy with everything and has
no depth of personality. The play ended with Salter’s pain humorously coupled with Michael Black’s
superficiality.
Reviewer Thalia Terpsichore 23.5.24
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