The premise of Attachment Theory, by Liam Scanlon, (transferring from Canal Café Theatre to The Bread and Roses Theatre), is intriguing: a gay couple, unbeknownst to each other, are seeing the same therapist. Ex-monk Ryan (Dan Holland), an American from a humble background, falls for Edward (Marley Brown), a posh Englishman, aspiring artist, and son of an aristocratic mother who is also a famous literary agent.
The possibilities for farce, intrigue and confusion seem ripe for exploration. But Scanlon and director Dom Stephens constrain the action by keeping the two lovers together onstage for most of the evening, speaking largely in semi-monologue to their therapist, Dr Lucarelli (Bernice Togher), who sits almost silently to one side, notebook in hand. Even as their relationship unfolds, Ryan and Edward barely engage with the therapy itself, while Dr Lucarelli dispenses bromides like “I’m sensing you’re reaching a precipice” or “I see you’re unwilling to do the work today.”
It’s a clever conceit that never quite cashes in on its own potential. The therapy scenes feel oddly generic, relying on pat phrases rather than offering real psychological insight or tension, and the play struggles to build momentum. Scenes begin to feel repetitive, and the storyline of poor boy publishing mega-hit novel feels somewhat cliché, making it hard to feel fully invested in the outcome.
As a result, the play feels stuck in a single register. Dramatic tension never quite builds, character development feels limited, and opportunities for wit or genuine repartee go largely unexplored.
Only towards the end does Dr Lucarelli’s double-dealing become clear, but again it feels like a missed opportunity. Under the direction of Dom Stephens, the production doesn’t quite find a way to unlock the more dynamic possibilities of the setup. There is some humour in the unmasking, but it comes too little, too late.
The two actors do their best within these constraints, sharing the same space while being oddly unacknowledged by their therapist. They circle around moments of intimacy—moving towards a kiss several times—but any real chemistry is undercut by the stagnant structure, which keeps pulling them back into addressing the therapist rather than each other.
The set is basis and serviceable – a single cushioned bench and three abstract paintings on the back wall, presumably Edward’s work. Small above-pub theatres can be terrific laboratories for new writing, but they come with their own challenges; on the evening I attended, the throb of music and noise from downstairs proved a noticeable distraction.
It feels like a piece with a strong idea at its core, but one that hasn’t yet found the dramatic shape to bring it fully to life.
Transferred to Bread and Roses Theatre, until 18 April
By: Liam Scanlon
Director: Dom Stephens
Cast: Marley Brown, Dan Holland, Bernice Togher
Running time: 1.5 hours, without interval
Photo Credit: Ben Stitch