Love and Money by Dennis Kelly is a play that conveys modern day corruption, greed and the dichotomy of what connects us as humans the most. The play challenges the viewer to question what one's life is really about, and by the finale we all probably give in and realise that materialism is secondary to human needs. I think it is fair to say that everyone's morals are clearly out on the table for surgical dissection, and perhaps even the audience are torn between right and wrong until the end monologue where we have a chance to absorb what life really wants us to connect with the most. The protagonist David leads a complicated dual life as a high powered career man who craves love from a French lady Sandrine whom he meets on a business trip. David has suffered intensely during the course of his life after a series of unfolding events, including his wife's suicide, crippling debt and working unbelievably long hours in a soulless industry.
The play is a parallel of old and new, in that Love and Money continually takes us back to David's marriage with his wife, who was uncontrollably materialistic and then synchronises his present life searching for a relationship with Sandrine. Love and Money portrays every theme that modern day life loves to hate which includes temporal relationships based on fleeting encounters in so far as nothing has a permanent state of being, and also everyone's drive and continual search for success that equates with high monetary value. The cast enter as hungry corporates ready for another day's work in an individualist competitive society which firmly sets the scene about this journey of discovery that juxtaposes ruthless ambition with a deeper life meaning.
Michael Waller as David led an impeccably strong cast through a complicated and high energy driven piece. Waller successfully convinced us of his character's highly emotional and stressed existence at all times, and he took risks with his varying emotionally charged states. I was blown away by the physicality of his stress and anger, and in particular when he nose dived into a violent state of crushing the CD cases which really showed us his limits of being pushed to the edge. Waller's pacing on stage heightened moments of tension, and even when still one could feel the sheer toxicity of his anxiety and constant state of worry and preoccupation. Waller's voice beautifully resonated quakes, trembles and poignant moments of reflection and care. Given his ever presence on stage, his variance in acting style and delivery was kept fresh throughout the piece.
Other cast members equally excelled in their performance, and a special note of credit due to Athena Bounti who convincingly embodied more than 3 versatile and distinctly different characters. Bounti grappled with varying accents and her broken franglais was superb. I thoroughly enjoyed Bounti's portrayal of Val as the corporate superbitch with a heart. In fact, the diverse casting of the actors was a key highlight for me and actually added a further layer of social and cultural intrigue of how we are all fundamentally the same as human beings. It was very refreshing to hear a multi-lingual cast perform rather than an all British cast. In regards to all cast performances, there were significant risks taken on stage and the performance didn't give the impression that it had been overly rehearsed as it still pertained a certain raw quality. Reboot Theatre thrives on the workshop element of their company, and this is evident from what I have seen in this production.
Next week: Frenemies by SEDOS @ The Bridewell Theatre, St.Paul's.
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