Nymphomaniac Anonymous is an unexpectedly moving display of the daily struggle to be better
Nymphomaniac Anonymous is an unusual exploration of group dynamics and self-destructive habits. Despite an abrupt mid-show genre switch, writer Valeria Suaste and director Cansu Ezgi Ince have created a smart story driven by powerful characters.
Both the set and costumes were pleasant in their ordinariness. The set was exactly what one would expect to see at a community centre AA meeting, right down to the table of cheap snacks in the back. The costumes were suited to each character but did not add nor detract from the show. The concepts for the lighting and sound were created by director, Cansu Ezgi Ince, and carried out by expert technician, Andrea Zatvarnicka. It was a very simple design but it effectively communicated the passage of time; spotlights and rhythmic music added a pleasant intensity to each character’s monologue.
The venue was very intimate which can serve a show well if used properly, unfortunately this was not the case for Nymphomaniac Anonymous. While the small circle of chairs and stools made sense as the central locale of the story, it did become problematic at times in closing the actors off to the audience. With five characters and seven seats, the layout would have worked perfectly if the two stools at the front had been left empty throughout. Actor’s having their backs to the audience was a common trend throughout this production.
The cast of this show did a fine job in portraying their characters. In a cast this small the group chemistry is very important and that is one point at which every single actor excelled; the relationships between characters developed very organically which made it wonderful to witness. The standout performance of the night has to be Es McLean in the role of Alex. They were captivating right from their entrance in the way they carried themselves. They perfectly balanced the comical and dramatic elements of their storyline and left the audience wanting to know more about their character. Joshua Aketse-Entsie also gave a memorable, albeit more subtle performance as Milan. He seemed right at home in his character and storyline. Eliza Ammann seemed to take time to warm-up as her character Laura, but once she did she delivered the most moving monologue of the show. It was clear from Rick Toynton’s performance as Kay that he is a very good actor, however he does come across quite closed off; I wish he had opened himself outwards more and made better use of his eyeline. Valeria Suaste in the role of Nia left me conflicted. Nia as a character is insufferable and I have been struggling to separate this from Suaste’s performance, therefore my only comment will be that the portrayal seemed a bit forced.
Nymphomaniac Anonymous has good bones and could be a wonderful show given some refinement. Where this show stumbles is in immersing the audience; the actors’ natural chemistry and staging which closes them off, leaves the audience feeling uninvolved. Despite these stumbles, the characters and their stories are remarkably real and vulnerable. As an audience member, it was impossible not to start seeing pieces of myself in each character. With an original plot, fascinating group dynamics, and captivating characters Nymphomaniac Anonymous is definitely worth a watch.