Caryl Churchill’s A Number questions the nature of individual identity, relationships, and perfection via a series of father-son dialogues that serve as the vehicle for various philosophical cans of worms.
Commencing with the perplexing discovery that his son, Bernard, was involved with an unauthorised cloning episode at the hospital, Salter’s anger explodes – his son’s unique identity has been compromised, if not stolen outright. After meeting a slightly older Bernard, the son realises that he is one of the clones, rather than the original. The great differences between the two genetically identical men are revealed in a fatal interaction that drives the heartbroken and chastised father to meet the other clones, only to find that they are total strangers to him.
Kim Gyngell’s Salter is a tortured soul. Gyngell played the part superbly, presenting an older man with a lifetime of regrets, unable to risk loosening his own tight grip on himself for fear of losing control. The character demanded the actor’s total commitment, allowing the audience to follow his fearful journey of discovery, his perfect plan gone awry. Sons Bernard 1, Bernard 2 and Michael were played with amazing control by Brent Hill. More than a mere change of costume or a quick brushing of hair, Hill played the mannerisms of the different men with ease. His tones of voice and body language when interacting with Salter were perfect. The difference between the two Bernards, each hating a father-figure in their own way, was pronounced on several levels, and well-executed. The Michael clone was a refreshing change, the only cheerful presence.
Technically-deft production values included stark lighting design, with moments of stunningly naturalistic morning light, with chilling use of ‘streetlight’ enhancing a sense of foreboding. Similarly, the sound stayed at the edge of audience awareness, subtle effects enhancing mood with atmospheric tone poems linking scenes.
Caryl Churchill’s play examines the implications of cloning and what the process means for notions of selfhood, personal rights and identity. She raises the point that standing alone, bereft of our relationships with others, we vainly attempt to define ourselves as unique. The nature vs nurture debate is fully explored before being cast aside with glorious disdain. The wonderfully sparse dialogue said far more with its silences than many works achieve through abundant prose. The unfinished sentences and scenes of intimacy, furious stand-offs, rejection and awkward silences between strangers, all enliven this piece in a way that copious monologues could not hope to match.
A Number is that rare theatrical beast – a thoughtfully composed creation presented with all the intelligence and ambiguity that it deserves.
Rating: 4 stars
Perth Theatre Company presents
A Number
By Caryl Churchill
Directed by Melissa Cantwell
Set and Costume Design: Bruce McKinven
Lighting Design: Jon Buswell
Sound Design: Peter Dawson
Audio Visual Consultant: Tim Watts
Special Effect Consultant: Anthony Watts
Production Manager: James Nerva
Stage Manager: Louise Wardle
Performed by Kim Gyngell & Brent Hill
Studio Underground, State Theatre Centre, Perth Cultural Centre
11 – 27 April
