Duet For One (Tour – Manchester)

Venue: RNCM
Where: Manchester

Tom Kempinski wrote Duet For One in the 1970s inspired by the story of the cellist Jacqueline du Pre. In the play Stephanie Abrahams, a successful violinist has been struck down with multiple sclerosis and her doctor has suggested sessions with a psychiatrist as she is feeling ‘a bit low’.
 
In six scenes we see the developing relationship between these two very different persons and, staged in the intimacy of the Studio Theatre it is as if we are sitting in on these very private sessions. The closeness can be very challenging both for the actors and the audience. At moments we dare not breathe as the conversations take off into unexpected directions.

Their discussions range from the price of copper piping to the purpose of life and each turn of conversation is played with consummate timing and feeling.  Like all good drama there is plenty to get your teeth into and despite the tragedy of the situation the play is not without its moments of wry humour.
 
Barbara Wallis directs the play with the assurance of a great conductor scaling a symphony. The piece moves effortlessly from the lightness of a Mozart sonata, through a despairing Mahler song cycle to the ‘heavy chords and climaxes’ of Beethoven. She draws fine performances from her players with some seamless changes of pace and harmonious teamwork from the duo.
 
As Stephanie Abrahams, Erica Rogers is not afraid to show the unpleasant side of the woman but her anger and her loss are forcefully and movingly played. Her emotions are wide-ranging and she skilfully charts three months of pain, anger and frustration. The poignancy of ‘the violin is where I live’ and her despair in Act Two are memorable moments.
 
Paul Green‘s Dr. Feldmann has less to say in the first half but his subtle and nuanced performance is a master class in active listening. With the raise of an eyebrow he conveys so much. When it comes to the later sessions his major speeches have terrific power sending a current of electricity through the auditorium.
 
After a sell-out run in Liverpool it is a pity that so few people turned up in Manchester to see this compelling piece of theatre. The production and the actors deserve the piece to be given a longer life. Pitch perfect!
 
– Richard Woodward