Twine at Fierce Festival 2024: Review

Twine is an ambitious and deeply personal exploration of adoption, family, and identity. 

Created by Selina Thompson and under the direction of Jennifer Tang, Twine aims to weave together a complex narrative that reflects on the fractured sense of self that comes with adoption. Yet, for all its ambition, Twine struggles to find its footing, often feeling confused in tone and genre.

The story centres around Sycamore, Thompson’s stage persona, whose journey we follow through three versions of herself, Seed (Nandi Bhebhe), Sapling (Angelina Chudi), and Bark (Muki Zubis). Each represents different stages of Sycamore's life as they attempt to reunite with their present-day self. The journey towards wholeness requires revisiting painful memories, touching on themes of familial violence and systemic inequality that shape the experience of being adopted. The narrative holds the potential for an emotional journey, but key moments at the beginning are rushed, leaving the audience struggling to keep up rather than understanding the essence of the story.

Naomi Kuyck-Cohen’s set design is stunning. It symbolizes the family tree and offers moments of visual clarity that anchor the story’s complex themes. The towering structures of branches and files evoke the weight of hidden histories and the tangled roots of identity. Yet, I found myself wishing the production had embraced a darker, more mysterious tone that the set seemed to promise. Instead, the atmosphere often veered towards a lighter, almost whimsical style.

Musical elements are woven into the play, continuing the whimsical style. However, they sometimes feel out of place, adding to the uncertainty around the production’s genre. While the harmonies are beautiful, the songs do not always serve the narrative, occasionally disrupting the emotional flow rather than enhancing it.

The piece is rich with political and social critiques exploring how adoption intersects with systemic racism and inequality. Though, the delivery often relies too heavily on exposition, presenting facts and statistics without the subtlety that could make them resonate more deeply. It often felt like Bark, particularly in the first act, was more of a vessel to communicate Thompson’s thoughts on adoption than a character with thoughts and feelings of her own.

The first act closes with a particularly tender scene that hints at the emotional depth the piece could and does, albeit more fully in the second act, reach. Yet, the overall pacing issues, especially early on, make it difficult to connect with the characters and their struggles. A segment involving a reflection on Sycamore’s adoptive and birth father is touching, but it feels extraneous within the broader narrative, raising questions about its necessity. These moments contribute to the sense that Twine lacks clear direction. The potential for deeper emotional engagement is there, but it’s undermined by a lack of cohesion in the storytelling.

The second act brings a necessary shift in tone, allowing the story to unfold more naturally. With less emphasis on exposition, the narrative becomes easier to follow, and the interactions between characters feel more genuine and engaging. In particular, the scenes between Bark and her adopted mother carry a tenderness that leaves a lasting emotional impression. This portion of the play provides glimpses of what Twine could be with refinement.

Ultimately, Twine has the makings of a powerful piece, but it would benefit from significant reshaping. Its themes are compelling, and the performances, particularly by Bhebhe, carry an emotional weight that shines through when the material allows. As it stands though, Twine feels like a work in progress. I desperately wanted to like it more than I did. Yet, it holds the promise of becoming something truly special if it can find a more balanced approach between its personal and political dimensions.

Author

Elisha Pearce

Elisha Pearce Voice Contributor

Elisha is a graduate of MA Theatre at the University of Lincoln. She currently lives in Staffordshire where she reviews productions at venues across the West Midlands. She is also a budding playwright and is currently developing a new play 'Elsie' which explores Alzheimers through a surrealist lens. Elisha has recently joined the Voice Contributor team and is super excited to write blogs, features and interviews on all things arts and culture!

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