Almost half of the actors in Emma Seya and Charlie Bell’s production of The Physicists are taking science degrees (a statistic informed by detailed self-descriptions of the cast in the programme). For a play heavy on theoretical and philosophical debate, it would surely benefit from the clarity of a scientific approach, and a sanatorium as the location of three murders could sure only lead to engaging stage-action to frame it.

However, the weighty text was not well handled. Performers lacked animation, making lengthy discussions of the moral responsibilities of genius scientists uninteresting; leaving the audience unable to engage. The script wasn’t unmanageable in this respect, but Stephen Bermingham and Simon Norman (as physicists faking madness) needed more expressiveness in their monologues to communicate the concepts effectively. Failing this, the distinct theories became a homogenous mass, and the discussion became monotonous. Norman, as ‘Einstein’, rarely lifted his head, and under the pressure of a spot-light failed to have an impact. His characterisation of a physicist was disappointingly cliché. He came across as a geeky teenager, and this was indistinguishable from his interpretation of madman (perhaps some astute social commentary, but surely unintentional). Madeleine Hammond as Dr von Zahnd occupied an armchair for the majority of her stage-time and such immobility rendered her descriptions of her insane patients and eccentric family tiresome. In the final scene (when she reveals her role in the physicists’ entrapment) she was too bland in her portrayal of madness to move us. The rotating spotlight accounted for a large proportion of the atmosphere, as both Bermingham and Norman remained unreactive throughout. Mobius (Paul Adeyefa) was responsive and attentive, but couldn’t inspire a sense of despair alone.

The lighting and sound, in fact, was often the main creator of any atmosphere (though there were timing mishaps with sound and unsteadying handling of the spot-light). In the love-scene between Mobius and Nurse Monika (Olivia Vane) it was the gradual fading of the stages lights and use of an eerie orange side-light that built the tension. The scene wanted fluidity and passion, and although Adeyefa handled a mixture of neutrality and intensity well (central to his role as a reluctant lover), Vane was too static for sufficient energy to be generated between them to create meaningful interaction. In addition to this, we never saw her face as she was constantly half-turned to the audience, and her voice was just too whiney to give the moment she proclaimed ‘I love you’ any gravitas.

Paul Adeyefa was the anomaly in the standard of the acting (arguably this differential was the most dramatic thing about the performance). He was rigorous in his portrayal of a scientist, and captivating as a lunatic. As a scientist, he made assured movements, and slowed his speech, restraining himself and refusing to rattle through his lines to fabricate dynamism. His madness was characterised by well-timed outbursts of rage, and never at the expense of clarity. In his final address to the audience he sat spot-lit in the armchair with an entrancing majesty, and gave the ending moments a fittingly sombre tone. Ultimately though, this could not carry such a cumbersome play successfully. The Physicists made the mad-house boring.

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