Angels @ The Traverse

The most admirable and engaging aspect of Angels is the relentless physical and emotional energy spent by Iain Robertson as he throws himself around the small stage of traverse two. In this one-hander with a set comprised of a single hanging strip-light he manages to conjure out of nothing not only protagonist Nick Prentice, but also several other characters and a world which feels real and tangible for them to inhabit.

My main issue with the performance however derives from the very same source. Although Robertson’s commitment to fully inhabiting Nick, and the mental turmoil that results from his being accused of another man’s murder, carries the entire show, it does at times lack restraint and often feels by the numbers.

Nick risks becoming a caricature of a victimised and tormented soul as he thrashes around, covered in sweat, reciting the dialogue at an unmitigated fervent pace. Even the moments when his body appears to give way under duress he slumps against the single available wall in a generic, repeated movement. It was as if, because it is generally expected a solo minimalist show such as this one needs the actor to fully occupy the space with his presence, any real moments of reflection were fleeting and simply a pause before the next bombastic outburst.

The show is clearly intended as a comedy and I do not wish to deny how funny some of the dialogue is. However, it does also aim to address issues of institutional violence, class discrimination and social stratification. Indeed, these are tackled well, but perhaps just a bit less desire to cram so many funny moments and so much action into a short space would have let the piece breathe and achieve what it only hinted it could.