Barons Court Theatre serves as the canvas for an exploration of art, ego, and the ties that bind us in the UK premiere of T.J. Elliot’s Retrospective. The premise is an intriguing one: a famous artist finds himself trapped in a sort of purgatory, with only his late ex-wife, empty canvases, and a few faces from the past to keep him company. Despite this, the execution leaves much to be desired, with committed performances and an interesting set-up not quite able to save an often muddled and clunky pay-off.
There are some engaging ideas to be found in the production. Noah Huntley’s self-absorbed veteran artist, Rory McGrory, waking up unable to see his own art while confronted by his literal ghosts is enough to reel one in, and there’s plenty of mystery dotted throughout the show. Liviu Monsted’s direction is full of quirky, creative choices and choreography that earn some laughs from the audience, while many of the more supernatural elements of the script are brought to life in inventive ways.
Among the positives to be found in Retrospective are the performances from the cast, with each actor conveying an emotional spectrum that can range from grounded cynicism to flights of fantastical whimsy. Noah Huntley delivers a solid performance as McGrory, portraying an artist blinded by his own inflated sense of self, whose core is gradually exposed as his delusions are chipped away at. Sarah Pearcey is dynamic as Pippa, Rory’s primary guide through the afterlife, with a love of rhyming and complexities of her own. Jasmine Dorothy Haefner and Benjamin Parsons round out the rest of the cast as other figures from McGrory’s past, both bringing a committed blend of physical comedy and introspection that proves to be the highlight of this production.
Despite the performances, Retrospective is somewhat let down by a script that feels overstuffed and unable to sift through all of its ideas. Although it has an intimate setting and premise, the play loses its bearings, getting lost in the weeds of its more other-worldly elements in a way that necessitates an overabundance of expository dialogue. Much of the show’s runtime is spent having to explain the plot, and while the cast does their best to make this work, it still massively slows the pacing and makes some segments of the play feel arbitrary and drawn-out.
Despite the negatives, Retrospective is still a fun enough watch. With plenty of charming performances, witty dialogue, and offbeat creative choices, there were plenty of moments to keep the Barons Court Theatre audience amused. While its issues are hard to deny, it’s a thoroughly likeable production with a plethora of good ideas and concepts to make you certain of its potential.
