Theatre review: Title and Deed

Everyman, Cork

Homelessness, alienation, lost love, sorrow for the pain of mothers and an unceasing wonder at language are the main themes of this monologue performed by Conor Lovett of Gare St Lazare in association with Signature Theatre, New York. Written by Will Eno, it is reminiscent of Beckett with a single character articulating the existential despair common to humanity. Lovett is a brilliant interpreter of Beckett and this play, clearly influenced by the Irish writer, suits the actor’s languid delivery and his drollness.

Eno’s nameless character, who addresses his audience in an intimate and beguiling way, is at pains to retain his dignity even in the face of the loneliness he feels in a new place. His mission is “not to complain” but rather to note the differences between ‘home’ and the place he finds himself in.

There is a pervasive self-consciousness about this character from the start, an awareness of how he might be perceived, so he asks the audience not to hate him and not to walk out on him and to “keep the screams to yourself!”.

At one point, the character emits a primal sound with his mouth tautly rounded in the style of Edvard Munch’s figure in The Scream. But Eno’s character is otherwise controlled and has some wisdom to impart. However, for the most part, the impression given is of a man in thrall to the absurdity of the world. He imagines himself striking out in the world with “one foot in the grave” and “one in the mouth.”

Mesmerised by the power of language, he describes man’s state as perpetually ‘unhomed’ and then says he made up that word before reflecting that every word is made up. Directed by Judy Hegarty, this show is both amusing and thought provoking. Played against a black backdrop and on an empty stage, Lovett carries it off with aplomb.