Test Dummy, Theatre Upstairs

The tonal, dissonant sound in the background remains constant throughout, so much so, that it becomes normal, even unheard. From beginning to end, it underscores the jagged, poetic, lyrical, and raw words as the woman tells us of her experiences of her body. The normal configuration of the intimate space is changed utterly, as Catriona Daly's new play brings us face to face, eyeball to eyeball, with this woman. Test Dummy is compelling, and distrubing, in both words and movement, under the knowing, controlled, and no holds barred direction from Louise Lowe. 

It is not easy theatre, but then who said theatre should be easy. It is disturbing, but it is told in such a different and daring way. Using the traverse style, combined with the taught atmosphere, gives the feeling that we are balancing on a knife's edge, the catwalk like the blade itself, the danger all around in tone, staging, words, anger and fear. The audience on either side so close to the action it adds to that sense of danger. But Lowe and Daly never forget that it is also theatre, and give us movement in words and body that remind us where we are. 

The opening sequence has no words, just the dissonant soundtrack and the heavy, tired, fed up, deep breathes of the woman. In a one person shows the need to get the first lines out tends to be rushed. Here the thought ocurs that words may not come for quite some time. But then theatre is visual as well as words, as the writer's programme notes remind us. The language uses repetition on words, alliteration, and plays upon words and sequences of words, reminding me of Sondheim, only here without music. There are times when it does feel repetitive, but the style employed, and the performance, keeps it moving. 

As for the performance, Caitriona Ennis shows huge control throughout this short, but harrowing, piece, as she uses the space well, and connects eye to eye with the audience. In the silent moments, she is superb. Nothing is rushed or wild. It is methodical, which adds to the tensions created, and the dredd and pain underneath. It's almost as if we are watching it all in slow, calculated, motion, and powerless to intervene.

All of this is played out on Laura Honan's soil based set. The corroded fridge - black with the peeled marks obvious - has soil pouring out from it; the once sparkling white-good is now filthy, not the kind that you would have in your kitchen, more the kind you would throw onto the dump. At the other end of the stage, there is more soil, with beer bottles stuck it in, pizza slices thrown amongst the debris - the remains from the night before - in contrast to the carpet that covers the catwalk. All of this contrasts against the old fashioned standing lamps, with the retro lamp shades, and yet all of it feels uncomfortable, like an old fashioned house holding a horrific secret. 

Test Dummy is a short work that drains you emotionally. It will also shock, although not simply for the sake of it. Daly's play, combined with Lowe's excellent direction, and Ennis's performance, will linger with you as you exit out into the winter's night.