★★★✰✰
As we wait in the bar in London’s Cockpit theatre prior to the performance of Talley’s Folly, 1940s jazz music plays as people mingle among drinks. 5 minutes before the scheduled performance time, we are welcomed into the theatre’s immersive space and are greeted with minimal staging of a small boat and a hut. Matt Friedman (Jerome Davis) walks onto the stage from a side entrance, surprising a few as he strides past the audience and makes his silent way up to the hut.
“This play will be exactly 97 minutes long” he explains, before going on to outline the premise of the play and what the audience should expect. We learn that Friedman fell for Sally Talley (Kelly Pekar) last summer, but since his daily attempts to reach out, Talley has responded once. Friedman has come to visit Talley in a final attempt to win over her heart. “Remember, this is a Waltz. 1, 2, 3, 1, 2, 3” he smiles, before the lights dim and the play’s story rolls into motion.
40 years since it last played in London, Talley’s Folly finally sees itself revived. Directed by John Gulley, the play is set in Missouri during the Second World War, and it tells the story of two lonely souls who, as the play goes on, eventually realise they have the unlikeliest of feelings for each other.
Jerome Davis embodies the character of economist Matt Friedman well, nailing his folk-like accent. He consistently breaks the fourth wall throughout the play after his introduction, allowing us to feel closer to the complicated relations he has with Sally Talley. Pekar also delivers a convincing and powerful performance as Talley, dealing with subjects such as her difficult previous relationship, and her infertility. She expresses Talley’s resentment, frustration and fragility exceptionally well and showcases her acting talent. Talley’s character at first shies away from talking about sensitive subjects to Friedman, which he describes as her “shells,” but eventually opens herself up to him. They take time to be honest with one another, but this makes Talley and Friedman’s connection feel believable.
Friedman likes to talk in riddles and stories in response to questions, likely due to his reservations over expressing his feelings. His stories allow the play to explore subjects like escaping war, economic troubles and racism. These help us to understand both characters better but also provide the most interesting moments within the play. For example, Friedman details how his Jewish family had to flee Europe before WW1 and seek refuge. The script has not been modernised by Culley, but these moments illustrate social themes that are relevant today, and it allows the audience to make parallels to modern life if they so wish.
The staging (Joel Soren) with just the boat and hut is compact and thus makes the couple’s conversations feel intimate, with the characters on occasions making eye contact with the audience in the round theatre. The lighting is also mood fitting, subtly changing when the conversation moves to different subjects.
Lanford Wilson’s script that first debuted in 1980 is generally effective, but can at times feel repetitive and strenuous. On occasion, Talley and Friedman snipe at each other and pick on each other’s weaknesses without adding any substance to the play’s development or story. Whilst some may argue that disagreements are part and parcel of two hurt souls realising their true inclinations towards each other, some segments feel drawn out and may make the audience lose interest in the characters’ conversation. When this happens, the play feels more like a butchered Argentine Tango than a coordinated, beautiful Waltz.
Talley and Friedman draw the play to a close by romantically embracing to the sound of calm music as the lights become brighter. Although this is the play’s “happy” ending, Friedman becomes more exasperated as the play goes on, and on two occasions physically restrains Talley from leaving him. The play may present the ending embrace as a joyful affair, but one is left to wonder if the two will be content in their relationship.
Talley’s Folly does have its faults, but there is incredible dialogue and exploration of difficult themes in this play. Delivered by two excellent actors, Talley’s Folly is a largely enjoyable 97 minutes of theatre and is a welcome revival.
Words by Ester Scott
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