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Einkvan review

Previously not on my radar, The Coronet Theatre is home to a highly varied, international programme. It was my first time visiting the venue, and made a really strong impression: incredibly helpful staff, and home to a bar that can only be described as the eighth wonder of the world. When I went to collect my tickets, I found that alongside them I had also received a handwritten postcard - a thoughtful touch. The Coronet Theatre clearly has much to offer, and this production is no exception.

Einkvan is a play from Nobel Prize winner Jon Fosse. It is directed by the radical Kjersti Horn, artistic director of the Det Norske Teatret. Einkvan transfers from Det Norske Teatret for its UK premiere at The Coronet. 

Eikvan takes place entirely behind a translucent curtain, veiling the actors and crew. Our only real insight into what goes on behind the curtain is through live videography, which is projected above the stage. At all times we only ever see what the cameras want us to see. The effect is incredibly unsettling. The cameras are almost always recording close-ups of the actors, providing an almost disgusting level of intimacy. 

Fosse's work often has this spiraling, almost stream of consciousness quality (perhaps partially as a product of translation). I find that I do not so much "understand" his work but "feel" it; he never fails to unsettle, and Einkvan is in a much similar vein. 

The performances are reserved, controlled, but with real intensity. Such an intelligent approach is taken by all to facilitate a deeply moving story. Einkvan follows a son estranged from his parents. Each character has a "doppelganger" to converse with, implying a kind of inner monologue. Perhaps when we struggle to communicate, the only person we can speak to authentically is ourselves(?)

To my shock, Kjersti Horn not only takes on the role of director, but also at the performance I attended formed part of the cast too. As you might imagine, finding a Norwegian actor in London at short notice is quite a challenge, so Horn acted as understudy for Hilde Olausson. Regardless of the circumstances, Horn's performance was really rather impressive, but in this case however you did lose the intended doppelganger casting. 

Einkvan is very much a slow burn. It has 65 minute runtime, which although short by normal standards I think is pitched right for the format and tone. Any longer and I think an audience might start to get tetchy. Although incredibly restrained, there is this simmering anxiety below the surface. When this culminates in a scene of violence, the result reads as extremely brutal (again aided by the camerawork).

Einkvan is intriguing, moving, and thought-provoking. Einkvan is certainly not a play for everyone, but you are unlikely to find a better example of highly radical yet relatable storytelling. I hope to return to The Coronet Theatre to see more of what they have to offer in future. ★★★★☆ 






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