Review: The Confessions, National Theatre

Painting an elaborate portrait of one Australian woman's life, this production is drawn from playwright Alexander Zeldin's mother's true testimonies unearthed by her son throughout lockdown. Opening with the line ‘I am not interesting’ from the older version of our central character Alice, one can just imagine the type of mother figure Zeldin is quoting.

Rattling through a selection of memories Alice is revisiting as she recounts her life to her son, Eryn Jean Norvill delivers a stunning and touching performance as the central character. Often a ghostly presence watching the memories unfold, Amelda Brown is a harder, older version of Alice. The story follows Alice through her youth in Australia, her subdued experiences being used and dismissed as a woman, and her travels to the UK where she finds her second husband and settles down.

The use of Marg Horwell's set design is inventive, as spinning proscenium arches move and twist to reveal houses, flats, school halls, art studios, libraries and lecture halls. Coupled with music composed by indie band Foals’ frontman, Yannis Philippakis, the impact of the production is thrilling. The direction is dynamic, providing audience members with a slick series of memories that stack upon each other to build a full-bodied slice-of-life drama.

This is also a brilliant example for students to see how multi-roling can be an interesting artistic choice. All the characters that were played by the same actor have intriguing links. For example, Pamela Rabe plays Alice's prim mother and also liberal feminist poet friend later in the production, but both characters offer Alice guidance while being so preoccupied by their own lives that they fail to see what Alice truly needs.

The Confessions skilfully weaves together complex human emotions, raw character development, and intricate storytelling. The cast's performances are nothing short of exceptional, making this a valuable teaching resource for exploring the nuances of acting and character portrayal and multi-roling. The play's ability to delve into the depths of human nature and evoke genuine, heartfelt emotions is a testament to the power of theatre as an educational tool.

I would suggest that this show is seen only by sixth form students and older due to the traumatic experiences that are depicted in its plot. In addition to the outstanding performances and remarkable direction, The Confessions touches on important themes that are particularly relevant for classroom discussions. It explores issues of social justice, the human condition, feminism and the complex relationships between individuals. Drama educators may find it to be a valuable resource for initiating conversations about social awareness and the potential for theatre to be a catalyst for change with older students.