OBSERVER: Funeral Flowers
Lucy Ansell’s portrayal of the homeless Angelique is a triumph. There is a physical litheness and vocal dexterity in her approach as she seamlessly moves between characters in Emma Dennis-Edwards’s monologue script, Funeral Flowers.
Adding to the completeness of performance is the integration of light (Kyra Ryan) and sound (Christian Biko) where these theatrical elements embody both the character and mood that Ansell evokes in her performance. The unison is so complete that the theatre itself becomes the character.
The set (Bianca Pardo) is a simple tiered arrangement with a slide-like centrepiece evoking the childlike origins of a character attempting to make her way in life. Dressed with flowerlike arrangements, it testifies to Angelique’s ambition to become a florist and her affinity with what flowers represent; the lily for innocence not death and white roses for purity.
The development of Angelique’s character can be attributed to both the director, Candy Bowers, and to Ansell.
There is a momentum that evolves naturally. We see an exuberant 17-year old-girl overcoming the challenges of a broken home and parental failure finding her way in life only to be abused and raped.
How Angelique negotiates this is the ultimate triumph but it does make for harrowing viewing. Neither Bowers nor Ansell have allowed the moment to become maudlin.
Angelique’s response, as written by Dennis-Edwards, is realistic. In this instance, Angelique surmounts the cycle of abuse that so many others cannot.
Apparent also in this well written play are the flaws within the social care system leaving young people vulnerable to feckless and predatory individuals.
Ansell’s depiction of the self loathing that ensues from her character’s experience is convincing.
The conclusion is a stronger character but one attuned to the harsh realities needed to survive. This is a production worth the effort to see.
Red Stitch Actors’ Theatre until August 23.
Review by David McLean
Pictured: Lucy Ansell in Funeral Flowers.
Photo: Jess DCruz

