“Performed with authentic empathy and understanding of the complex nature of disability and trauma”
“A journey up three flights of stairs to a hundred years ago and yet, nothing much has changed in out understanding, and treatment of, difference and trauma.“
Kate Stratford 3.5 /5 Dazzles
Perspective is a bit like hindsight – it is better with time or space. In this instance, Richard Greenberg’s The Dazzle, written over 20 years ago was inspired by the lives of the Collyer brothers (New York’s legendary recluses who died surrounded by 138 tons of trash) is meant to be an examination of the nature of obsession and trauma. But in 2022, with our increasing knowledge of the manifestation of autism, The Dazzle becomes something else.
Langley Collyer (Alec Ebert) is a concert pianist who is, as we can see now, definitely on the autism spectrum. His brother Homer (Steve Corner), an admiralty lawyer, was tasked by their mother from the age of four to take care of Langley. It becomes a lifelong burden as he internalises his frustration and anger at having to give up his own life to serve and care for his brother. Into their lives sweeps socialite Millie (Meg Hyeronimus) and in her, Homer sees a sort of salvation. Here is someone who can take on, or at least share, the burden of care. Millie has her own parental problems, however, glitteringly concealed under a façade of sophistication. We are headed for an implosion.
It is an absurdist styled piece, with rapid-fire witty dialogue delivered in gorgeous upper New York dialect (thanks to Tim Kopacz). The passage of time is marked by the motif of Christmas music. Ebert’s Langley displays all the anxiety, sensitivity and obsessive tics of the syndrome; sliding irrevocably into complete self-absorption as his brother becomes increasingly unable to deal with the struggle of care. Like all those on the spectrum, he is self-absorbed but not selfish and this difficult delineation is delicately delivered by Ebert. As Homer, Corner brings a Rik Mayall-like energy to the role, filling what little space there is left in this diminutive theatre. He seems to dwindle to half his size in the final scenes, blindly suffocating under the weight of his brother’s hoarding; his own increasing disability and the emotional burden he has carried his whole life. Hyeronimus’ presence reminds one forcibly of Wallis Simpson; as though the actor has cleverly modelled the character of Millie upon that notorious vocal style and physicality.
Jane Angharad’s direction is tight but at times it struggles to develop atmosphere on a set which is perhaps too based in realism for an absurdist play. These brothers died under the weight of hoarding which of itself needs to be the fourth character in the play. It is theatre – how to make a small space even smaller is not such a big challenge to design and on a limited budget, may have been a more effective option.
A journey up three flights of stairs to a hundred years ago and yet, nothing much has changed in out understanding, and treatment of, difference and trauma.
Kate Stratford, Theatre Now
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Photo Credits Clare Hawley
