Creatively complex conflict explored perfectly in its polished yet intimate setting
Writer-producer Emma Novak has struck Fringe Theatre gold with this riveting, personal piece about the impact of Romania’s communist regime. Directed by Hector Smith, we follow a solitary solider called “Novak”, played superbly by Samuel Collins-Webb, as he writes letters to his mother during his time in a military re-education camp as punishment for trying to flee to Czechoslovakia. Dealing with themes of hope, paranoia and survival, this production has been expertly crafted by its tiny team.
The atmosphere is already established as we enter the room: Novak is sat on small metal bed with scratchy woolen blanket, writing furiously into his journal. A black and white TV is perched on a wooden side table. The sounds of Romanian radio propaganda songs play on loop; jaunty and unsettling. The “strays” in the title, we learn are a double meaning. Referring both to the literal stray dogs left abandoned by citizens in the streets, and the people who slip through the cracks, such as our protagonist, forced to wonder when liberation will ever come.
The heart of the piece is of course Collins-Webb, and Novak’s writing is so sharp that we are immediately invested in his character, based on her own father. We follow as he writes love poems for a fellow inmate to his ever increasing number of girlfriends, we follow him as he discusses the virtues of contraband VHS, and we follow him as he muses mournfully on his increasing desperation and despair that he will never be released.
Considering the small creative team, the technical capabilities of this show are sensational and pack a far bigger punch than you would expect, filling its intimate space. The sound design is spectacular. We are shown archival video footage of dictator Ceausescu one moment, then a cut to a 1980s Hollywood montage the next, then cut to spoken word overlapping radio broadcasts and back to silence again. Here media is used to show, rather than relying on the character to tell. Quick musical transitions and sound motifs are matched by Collins-Webb’s masterful tracking of the myriad cues he has to meet for this pint-sized production. Capabable of quickly changing characters, he has such heart and charisma, demonstrating the personal fractures of a life caught up in the fight for national democracy. I couldn’t believe how invested I was in his character and his invisible stray pet dog called Rat.
This show not only tackles head on themes of military abuse and corruption, but also the human elements of being simply a poet with a past- references to the soldier’s family life and his friendship with an inmate add touches of heart and even humour. My sole criticism were the movement sections- they were too infrequent and short (and on the nose)- if they are to be kept, they should be really invested in or just ditch them.
Ultimately, I feel this show was incredibly well written, well produced and well performed. I felt a connection to the character and understood the context within which it takes place, as well as asking questions about democracy, communism and about what we all do to survive if we need to. It’s such a well-polished piece considering its student roots.
Slick in its simplicity, Târgoviște Strays allows a single person’s story to resonate through a regime and in doing so, provide a thoroughly nuanced perspective on a past that is indeed not so far removed from the current political climate.
Hello! Thank you for your very kind words, this is writer-producer Emma Novak, just wanted to ask if you could make the correction of crediting the Director as Hector Smith instead, as it is currently noted that I am the writer-director in the review. Otherwise, we are very happy with your feedback and are glad you enjoyed our show!
All amended – glad you liked the review !