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Published: 2 February, 2012
by AMY SMITH

Freedom begins with a lie borne out of desperation: farmer Benham is at risk of losing his poppy farm in Tajikistan to criminals and to stop them he pretends that his family is well connected.

The only proof that they will accept is his son Fariad bringing home a Western wife.

With such a dramatic premise, it is a shame that initial conversations between Benham and Fariad are stilted and uncomfortable; perhaps Rian Perle and Indranyl Singharay are not yet fully comfortable in their roles.

The empty space between their lines could have been filled with ambient sound but instead there is a hollow silence.

The set, however, is very impressive.

Roberto and Pablo Vidiella have effectively halved the smaller stage at the Arcola into a Tajikistan barn and a London fried chicken shop.

There are moments of humour but unfortunately these are too often based on tired stereotypes of rural ignorance and the promiscuity of Western women.

The direction from Rick Limentani is awkward and confusing; on many occasions the entire space is cloaked in darkness for long pauses as actors changed costume.

Because the action constantly alternates between the two halves of the stage, it would have been nice to see a more creative approach to the lighting design from Paul Micah and Andrew Brooke.

Rebecca Cobos is enthusiastic as Jennifer but struggles to add a level of authenticity to her burgeoning romance with Fariad.

Overall, the character development is rather confusing.

At first, Fariad is outraged at his father’s proposal to find a Western woman but after falling in love with Jennifer and convincing her to travel to Tajikistan, Fariad makes the strange choice to stay in the UK and moodily strum his guitar.

It’s commendable that the Arcola are championing new writing, but sadly Freedom fails to impress.

until february 18
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