Lucy Roslyn’s writing is far from a play offering a portrayal of Virginia Wollf’s novel. Lucy Roslyn offers a performance which takes in the beauty of Orlando and offers a parallel of its relevance and necessity in 2019.
In Orlando Roslyn challenges the life which is calved for us, the labels which we are required to adopt. In Roslyn’s beautiful storytelling the audience is enabled to challenge how we have the ability to live when futures are mapped, labels are given.
There is an immediate appreciation that this isn’t a production with any predictability. It will go places, it will take you places which can’t be appreciated without gaining an appreciation of the context for Roslyn’s and Woolf’s intertwined stories.
In Orlando we appreciate the experience of living. The ability to live a life according to the direction you need to face. To hide when you need, to move when you need, and to fall into happiness. Whenever and however you find it.
With Roslyn’s own experience overlaying that of Orlando little hints are dropped, hurt exposed. Until the fullness of love is known, and judgement exposed.
Josh Roche’s direction enables the piece to find the pace which brings out the meaning for each of the character’s exposed. To enable humour and heartbreak to be balanced sensitively. Leaving a sense of awe and appreciation.
Orlando draws the audience in on the premise of a novel and leaves us with a challenge. To embrace love and passion, and negate the need for the labels we so love to put on every element of our lives.
Orlando is at the Pleasance Courtyard as part of the Edinburgh Festival Fringe. You can see the production at 13.10 until Monday 26th August.
Disclosure: This review is part of media accreditation for the Edinburgh Festival Fringe. All views and opinions contained are my own.