Constellations Review – Two Scintillating Renditions of a Challenging Play

Sitting in the darkened, enveloping Barron Theatre after an unproductive

Sunday, I was caught off guard when the opening line of Nick Payne’s

Constellations questioned why humans couldn’t lick the tips of their elbows. A

question which could conjure many different answers, the aspect of

alternatives is central to this romantic tragicomedy. First performed in 2012

and most recently in 2021 by the National Theatre, it delves into science,

nature, and the daunting concept of the multiverse. With Aidan Monks

directing, and Valerie Creasy producing, this is perhaps his most daring venture

— and one of his best too.

Photo courtesy of Caitlin Conway

Constellations revolves around two characters: Roland the beekeeper and

Marianne the quantum physicist. Payne guides us through the highs and lows

of their relationship, from barbecues to affairs to dance classes: the complexity

lies in that every scene is repeated several times with slightly alternative

endings, here is the multiverse in action. A play only the 21 st century could

create, these alternate repetitions are meant to represent the infinite ways a

conversation could go, as many as the stars above it seems, where one word or

expression or glance could not only change a discussion but also an entire life;

this is seen when Marianne befalls a nasty end. Or perhaps not, depending on

which variant strand in the relationship you choose.

Even though this brief description might warrant a stiff eyebrow raise and

perhaps a small sigh, as I did upon reading Google’s best crack at a synopsis,

there were manifold reasons as to why this tricky play was in safe hands.

Firstly, Monks is a veteran at dealing with these high concept scientific dramas,

his directing of Stoppard’s Arcadia last year being testament to this. His use of

a traverse stage for Constellations, which was arched-over by a dazzling, fairy-

lit rig to reflect the constellations themselves really leant into the science

aspect for me. It cocooned and immersed the audience, almost as though we

were caught in our own little universe.

Secondly, he managed to get some of the best acting aces in St Andrews on

board. And it was necessary too, as Monks contrived to create the first double

billing of its kind by performing the same 70-minute-long Constellations not

once but twice in the evening, to reaffirm the alternate theme by giving

alternate interpretations of the same piece. Version one, starting at 18:30, was

performed by Aubrey McCance as Roland and Tatiana Kneale as Marianne;

version two, at 20:15, was performed by Dylan Swain as Roland and Callum

Wardman-Browne as Martin (a variant name for Marianne) —each

accomplished actors at the university.

All four of them gave emotive performances which demanded a lot, and it was

especially impressive that they were able to learn the lines so quickly when so

early in the semester. Moreover, they had to play multiple personalities in

each scene, due to their being so many variant alternatives. One moment they

had to be furious, the next gleeful, the next awkward; their transfers from one

characterisation to another were succinct and flowed nicely. Both pairs dealt

with the gravity of the closing scenes well, with the tension being quite

tangible in each. Furthermore, they only had two black wooden boxes to deal

with on stage, which was minimalist to say the least and for which they worked

well with.

A large amount of praise must go to Willa Meloth on technical direction, who

had the testing task of getting the lighting and sound cues right; requiring

dexterity of a pianist, there was a change in lighting perhaps every 30 seconds,

or there abouts.

Two versions of the same play in one evening will always create comparison: if

I had to pit version one with McCance and Kneale against version two with

Swain and Wardman-Browne, I feel version one would take the cake. Yet, this

could easily have been different if I saw version two first instead of one. As, the

loss of diminishing returns is a cruel negotiator and hearing the same jokes and

knowing the play’s progression is never going to be as interesting as the fresh

first watch of it. Kudos however goes to Swain and Wardman-Browne for

varying their characterisations to a goodish degree of difference from version

one; they also had a tough act to follow with the very natural chemistry of

McCance and Kneale.

So, even if the second viewing of Constellations was a bit more predictable, I

was able to pick up on new messages and themes I missed out on the first

time, which was part of Monks’ intention for doing a double bill. Just as the

pairs of actors perform alternate interpretations, so too, with a second

viewing, do we alternate our perspective on Payne’s play itself. Monks also

played a masterstroke at the end of version two by having all four actors on

stage, weaving the same conversation in between both pairs which hadn’t

interacted until then — creating the multiverse-multiverse (if you will) and was

the star aspect of the evening.

A play revolving around the battle of science versus nature (quantum versus

bees) is quite an apt message for students and was a good choice from Monks.

Students in St Andrews and elsewhere are constantly torn when choosing

modes of communication, they must choose between science and nature: to

text or talk in person? Although the former is very useful, it can be altered,

changed. A face-to-face conversation, however, is raw and permanent. People

are more afraid of doing this now as hiding behind phones becomes more

comfortable. But if these versions of Constellations can teach us anything, with

its superb acting and great direction, we only have one opportunity at any

given moment to do the right thing, to make actions in the moment for the

better. Let me tell you one way how — by seeing these plays.

Constellations by Nick Payne, directed by Aidan Monks and produced by STAAT

is performing at The Barron Theatre, 18:30-21:30, until the 30 th of September.

Tickets can be bought on FIXR.