Review: THE SOUND OF ABSENCE at Omnibus Theatre

Writer/actress Yanina Hope stars as Lenore, with continual piano accompaniment by Vladyslav Kuznetsov. He’s a beautiful player, and the piano music is variously haunting, jarring and jovial. Hope wearing an oversized suit which swamps her body and represents her connection to her father, strolls, leaps and writhes around the stage as she tells the story of Lenore’s relationship to her dad.

At seventy minutes straight-through, The Sound of Absence is too long for a show with minimal set and only one speaking part. The second half is stronger, especially comedically, so the play would be improved by cutting down its beginning section. Lighting design, by TheGeorgeNET, work well, enhancing the atmosphere and visual excitement of the The Sound of Absence. The most emotionally engaging moments of the play are when Lenore interacts with Kuznetsov’s pianist. However, these come infrequently, and have little impact on the play’s emotion or story. The thematic reason for the piano’s inclusion in The Sound of Absence are therefore unclear. This undermines Kuznetsov’s piano performance, and the pianist’s presence to the play.

Aside from the usual morals found in all shows about family and bereavement, it’s unclear what audiences are specifically meant to take from The Sound of Absence. Hope’s play, while bold, is blurry, bemusing, and in need of further refining to enhance and streamline its meaning and power.

Plays until 28 February