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| Ylaria Rogers as Catherine in Proof |
Proof by David Auburn
Freefall Productions
The Q,
14 -17 March 2018
A
mathematical proof is an argument in support of a statement based on exhaustive
logic. It implies a clinical level of control, which David Auburn exploits in
his 2000 Pulitzer Prize and Tony Award-winning play Proof. Catherine (Ylaria
Rogers) is the daughter of mathematical genius and professor, Robert (Gerard
Carroll), who has recently died after a long mental illness. During his
increasing insanity she cared for him mentally and physically as she explains
in intimately heartbreaking detail.
Her
sister, Claire (Julia Christensen), who has escaped filial duty in New York as
a currency trader, returns for the funeral and to sell the house. Her bags may
be light but her baggage is not. Meanwhile, Robert’s former student, Hal (Derek
Walker), stumbles across a proof in his mentor’s notebooks that he believes will
change the future of mathematics.
On one
level the play is simplicity itself, pared back to four characters and a single
set. Despite the intellectual subject matter, there is no emphasis on
chalk-covered blackboards or complicated-looking equations; we never see the
experimental scribblings as they are contained in innocuous-seeming notebooks. The
action all occurs outside the house, set on an oblique angle across the stage,
featuring an array of well-tended pot plants in a sort of conservatory and windows
covered with sheets through which lights shine erratically during scene changes.
Against
this solid backdrop, however, we are in the world of non-linear narrative and
imaginary numbers. Robert, whose death precedes the beginning of the play, makes
several appearances and gives Catherine a bottle of birthday bubbles, which she
drinks with him. Should we see this as an example of her mental fragility or
the time-bending possibilities of quantum physics? She, herself believes she
may be following her father’s footsteps both in the cerebral world of prime
number theory and the irrational realm of madness.
Scratching
the surface further uncovers layers of guilt, fear and anxiety, as is felt in
all relationships, whether that be between father and daughter; siblings; tutor
and pupil; or lovers. Carefully constructed façades crumble just as we are told
the house in which Catherine and her father have lived until now is falling to
pieces.
While a
proof follows logical steps, it may also include natural language – in a
mathematical context, this means a language developed and spoken by humans in
an organic manner as opposed to a formal language, such as that used to
program a computer. This is accepted to admit some level of ambiguity to the deductions,
and this production excels in its ambiguity. Those who didn’t know the plot
were shocked at the mid-point revelation, although admitting they should have
seen it coming; a true testament to expert storytelling.
Tour
director, Tyran Parke, and original director, Derek Walker, trust the actors to
carry the narrative, and their belief is well placed as all four handle their
character with subtlety and sensitivity. The frequent switches in pace and motivation
are demonstrated through tone and expression as well as posture and movement.
No one resorts to histrionics or excess; all are entirely believable. The role
of Catherine is pivotal to the success or otherwise of this play and Ylaria
Rogers imbues it with grace and nuance, highlighting every aspect from stubborn
anger to enchanting naivety.
They also
credit the audience with enough intelligence to reach their own conclusions
about the ‘moral’ of the play rather than enforcing any particular agenda or
riding any current hobbyhorse. The programme notes state that Freefall
Productions wants to give audiences, ‘stories that they can identify with,
theatre that touches our hearts and minds.’ With this superb and thoughtful gift
of a production, they have done just that.
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| Alexander Brown as Hal and Ylaria Rogers as Catherine |
