Theatre: 32 Lavender Close
HMS Bloemhof
6 October, 16:00
The set design of 32 Lavender Close was the saving grace of a play filled with stiff performances and awkward comedy that did not land. PHOTO: Alison Hermanus
What was intended to be a blend of awkward situational humour and deeper emotional moments, fell flat in almost every aspect of the play 32 Lavender Close.
Melo, played by Grace Matetoa, and Carly, played by Christie van Niekerk, are two 20-something-year-olds who become roommates at Lavender Close. Carly is desperate for a place to stay, and Melo is desperate for someone to pay the other half of the rent. They are very different but find a way to co-exist, become friends, and eventually become support systems in one another’s lives.
However, the play’s messages of self-discovery, sexuality, and mental well-being did not resonate, mostly due to Matetoa and Van Niekerk’s performances, which were filled with rigid movements, mechanical line delivery and unconvincing reactions. Andi Colombo’s writing and directing featured poor comedic timing and forced humour that left one with an awkward feeling.
Setting the scene
The majority of the play takes place in the bathroom of the girls’ shared apartment, with some monologues taking place in a bedroom.
The stage was lit up by pink and purple lighting, which added to the romantic tension, intimacy and the theme of exploration of identity. The lighting changes as the characters’ emotions do, with warmer lighting during lighter moments and dialogue, and subtle spotlights during more emotional moments and monologues.
The characters interact well with their surroundings. Carly – who is more frantic and unpredictable – throws clothes around and spits her toothpaste into the toilet. On the other hand, Melo – who is more organised and reserved – folds her clothes neatly, and spits her toothpaste into the sink.
Shallow performance
Van Niekerk commits well to the humour, which is understandable given her background in comedy. However, the badly written jokes did not have the entire audience laughing. It appeared as though Van Niekerk did her best with what she was given in the script, but an actor can only do so much when the script itself is lacking.
The emotional moments in 32 Lavender Close fell short. The acting felt stiff, which marred the romantic chemistry – one of the main themes in the play. This made the characters looking into each other’s eyes and fighting the urge to kiss feel awkward, rather than romantic.
Matetoa’s acting really fell short during Melo’s panic attacks. The performance, which was meant to help the audience feel her struggle, was reminiscent of a high school theatre production.
The world-building that was pushed by the set design was tainted by the acting and writing as the performances lacked depth, and the comedy was not well-timed – all aspects which detracted from the story.