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Duet
for One by Tom Kempinski
Stephanie Abrahams (Andéa Lechner) a young, wealthy, attractive, confident and gifted concert violinist, has developed Multiple Scelerosis (MS). On the advice of her husband, a successful composer, she consults a psychiatrist, Dr Feldmann (Paul Burton). Her wheelchair visits and sessions with Dr Feldmann through the various stages of her illness form the basis of the play. Stephanie initially copes with the forced mental and physical changes in her life by continuing to live a full working and personal life. She can no longer play the violin, so teaches. She can no longer play music with her husband so becomes his secretary; she will cope with their altered sex-life, because of her husband's love and loyalty. Stephanie deteriorates, acutely aware of the implications of her illness; but still her belief in life and determination persist. She valiantly fends off Dr Feldmann's analysis of her condition and state of mind as mental depression which can only be treated with drugs. Her lucidity, self-acceptance, sense of meaning and wonder in playing music stand at times in sharp contrast to the doctor's clichéd psychoanalytical reduction of her condition.He blames her past, or the fact she doesn't have children; and patronisingly pigeonholes MS sufferers as mental health patients. There are clear parallels with the life of Jacqueline du Pré, whose terrible tragedy echoes through the dialogue and music of this play. Stephanie, an artist figure, will not be satisfied with an average life or diminished purpose. The first tragedy is that she cannot alter her deteriorating condition through her determination and courage. The second tragedy is that music was life itself for her. By rejecting her father's ambitions for her she finally realises that teaching can never replace playing the violin, which was how she articulated life and humanity, and experienced beauty and pleasure. This is not an easy evening's theatre and does not claim to be so. The play is long and at times drawn-out; pondering on its painful subject. But this understood, it is worth going to see Andéa Lechner in an exceptionally emotionally demanding role, and to see how she has so wholly got to grips with what it may feel like to suffer something most of us must thankfully never experience. Duet for One needs a Jim Broadbent and Judi Dench film to give the play and its subject the profile and place it deserves. This is not to detract from the marvellous strengths and acting here. But an unashamed intention of this production, in aid of the Multiple Scelerosis Society, is to provide an insight, and in so doing, enhance public understanding of this devastating disease. Stephanie
Kitchen, 12 September 02 |