Pyrenees
Menier Chocolate Factory, London

Chris Wilkinson
posted 4 April 2005

In the Pyrenees Mountains, where climbers go to lose themselves on the rockface, one man awakes to find he has lost his identity. Found unconscious in the foothills of the mountain range with only a 'scallop shell medallion' in his pocket, the man (Hugh Ross) - with the help of a young British diplomat called Anna (Frances Grey) - tries to piece together his identity. Is he a pilgrim? A fugitive? Is he even British? Aside from his accent, the only clues as to who he is lie with the mysterious proprietor of the hotel in which they are staying (Jonathan McGuinness), and the hotel's only other guest, a woman named Vivienne Sutherland (Paola Dionisotti).

David Greig's play occupies an ambiguous space somewhere between beauty and madness. As Anna's feelings for the man she is supposed to be investigating grow, she begins to project onto him everything that she wants him to be - his identity is formed as much by her desire as by the facts. But as the truth crashes in on all of the characters in the second half, the man, Anna and Vivienne find themselves caught up in an avalanche of loss and confusion.

It is hard to reveal any more about the play itself without giving away some significant plot twists. But it is enough to say that Greig has created an intricate exploration of memory and the fluid nature of identity. He shows how even the way we self-identify in terms of nationality or ethnicity has as much to do with our own conscious or unconscious personal choice as it has to do with our actual circumstances.

This aspect of the play reaches its most absurd level in the character of the proprietor: Pedro. Pedro is a mercurial, protean figure. He claims to be Spanish, French, Italian, German and African; to be both the proprietor and a mere waiter. McGuinness gives the character an air of subtle menace, which has an extremely unnerving, dislocating effect on both Anna and the audience. It is almost tempting to feel that the character actually belongs in another play altogether. And yet this ability constantly to wrong-foot his audience is what makes Greig's voice so distinctive.

Vicky Featherstone skilfully ties these disparate elements of the script together and elicits some extremely compelling performances from her actors. While Dionisotti plays Vivienne with delicate melancholy, she is beautifully offset by Ross's warm portrayal of a man who, whilst likeable, has moments of astounding tactlessness. The whole production is shot through a distinctive wit, and makes for a surreal and exciting piece of storytelling.

Till 24 April 2005.