(L-R) Susannah Flood, George Demas, Kati Brazda and Carter Hudson in 'The Effect'

Courtesy of Matthew Murphy

 

                                     by Deirdre Donovan

 

Lucy Prebble’s provocative new play The Effect, is a brain-teaser with a heart.  Superbly directed by David Cromer, and under the aegis of The National Theatre of Great Britain’s North American wing, it’s currently making its North American premiere at the Barrow Street Theatre. 

 

Prebble’s play raises many ethical questions about pharmaceutical trials and those who oversee them.  But it delves even deeper into the nature of falling in love and making commitments in our modern-day world. 

 

The scenario.  Connie and Tristan volunteer to be the guinea pigs in a four-week clinical trial for a new anti-depressant drug.   When the two meet during a routine drug dosing sparks fly--and they fall head over heels and begin an illicit love affair.  Once the supervising doctors, Dr. Lorna James and Dr. Toby Sealey, discover that Connie and Tristan have become lovers, they are left with some weighty questions:  Is their new-minted love a side effect of the drugs?  Or is it old-fashioned love in clinical clothing? 

 

On the surface the action revolves around Connie and Tristan receiving steadily increasing dosages of an anti-depressant drug.  But the play gains its rich dramatic texture as we see them, willy-nilly, fall in love in a sealed ward.  And much of the fun in watching this show is debating, as the doctors do again and again, whether the cause of Connie and Tristan’s romantic bonding is due to their chemistry or a side effect of the agent.  And, oh yes.  There’s also the possibility that Connie or Tristan could be on a placebo.  Feel your brain waves going haywire yet?  Yes, Prebble creates a humdinger of a plot here.  And we are left with a lot of what-ifs.

 

If the main plot is meaty, the subplot tosses in some tasty morsels.  Prebble gradually uncovers that the two psychiatrists, Dr. James and Dr. Sealey, had an affair in the past, which has left them both with some emotional scars.  Some awkwardness remains between them—but they have maturely continued their relationship as friends.  Even so, a subtle power struggle has developed between them at work, with Dr. Sealey wielding the upper hand.  This subplot definitely humanizes these two ambitious psychiatrists.  And without overshadowing the main plot, it allows us to see the two doctors as feeling human beings who understand the power—and pain--of love.

 

There’s a quintet of fine actors on board.  Susannah Flood is just right as Connie Hall, the female volunteer who has signed on for the clinical trial.  Flood, dressed in sweat pants and with no make-up, exudes spunkiness and a natural charm.  Playing opposite her is Carter Hudson, as Tristan Frey, the free-spirited male volunteer who becomes Connie’s lover.  In the supporting roles, Kati Brazda, as Dr. James, manages to balance her character’s professionalism and her vulnerability as a woman.  Steve Key, as her clinical co-partner Dr. Sealey, is convincing as a doctor who has a touch of the Don Juan in him.  And a shout out to George Demas, who performs the role of the Research Lab Technician.  Alternately administering drug dosages and wheeling hospital gurneys across the stage, Demas brings an air of authenticity to the proceedings.

 

The play’s clinical atmosphere, of course, wouldn’t be achieved without the creative team all doing their job.  To this end, Marsha Ginsberg’s sterile looking set is ideal, as is Tyler Micoleau’s fluorescent lighting with its intervals of blackouts.  Maya Ciarrocchi projection designs are a mélange of medical hieroglyphs, mostly reflecting the steadily increasing dosages of drugs and other key clinical data.  Sarah Laux’s costumes are no fuss and very functional.  And when it comes to evoking a clinical atmosphere, Erik T. Lawson’s sound effects get the monotonous beepings of the medical equipment down pat.

 

In spite of its clinical setting and premise, The Effect is full of life.  Prebble has a real talent for creating credible characters and spinning out dialogue that sounds like real conversations.  If her plays The Sugar Syndrome and Enron (staged in the West End and Broadway) put her squarely on the theatrical map, this one adds a new feather to her cap.  Teamed up with the amazing director David Cromer (Remember his Our Town and Orson’s Shadow at the Barrow Street Theatre?) here, Prebble is a young playwright who keeps branching out into new theatrical terrain.

 

Through June 19th.

 Barrow Street Theatre, 27 Barrow Street (at Seventh Avenue), Manhattan.

For tickets phone 212.868.4444 or visit www.Smartix.com

Running time:  1 hour; 50 minutes with one intermission.