Paula Clarke as Shauna and Eoghan Lamb as Robbie. Photo courtesy of c21 Theatre Company.
Northern Ireland’s c21 Theatre Company, in conjunction with The Keegan Theatre, is currently presenting “Expecting” by Irish playwright Charis McRoberts. Described as a “poetic one-act play” featuring both deaf and hearing artists, the relatively short piece follows the ups and downs of Robbie and Shauna. Per the title, they are indeed expecting. With the impending life-changing event, the pair experience a roller coaster of emotions underlined by Shauna’s having to navigate a hearing world as a deaf person.
The acting is riveting.
The show is constructed as a series of relationship snippets, a montage of their collective journey from their very first meeting to sleepless nights tending to a colicky infant. Different from Shauna’s previous partner, Robbie fully immerses himself in Shauna’s world. He learns sign language, becoming her interpreter when needed. Yet, as the couple dives into the world of parenting, it is Shauna who becomes Robbie’s interpreter. Robbie suffers a breakdown of sorts, prompting a teased-out, will-they or won’t-they scenario, leaving the fate of their relationship quite uncertain.
The acting is riveting. As Shauna, Paula Clarke exhibits the perfect combination of new mother doting on her child and wistful woman who had to leave behind a dream to embark upon another unanticipated one. Her delivery is both mesmerizing and haunting, putting Eoghan Lamb as Robbie in the position of having to play the grounded re-assurer while silently struggling with the anguish that seems to be eating away at him—though, perhaps, Lamb’s manifestations of this inner turmoil do seem, on occasion, somewhat overdone. Nevertheless, the duo are a convincing portrait of struggling parents, particularly in the wake of childhoods that have left their own marks.
The more peculiar choice here is that of the baby’s voice both in utero and then as a toddler. An onstage interpreter assumes the spotlight as the words scroll by on screen. There’s a bit of a “Look Who’s Talking” vibe underpinning these moments that doesn’t quite gel with the thematic or artistic progression of the play.
Stephen Kelly’s direction is heavily anchored in a stripped-down minimalism, on occasion removed from this box during the actors’ respective solo moments of manifesting their inner trauma. It works well and, consequently, evokes a keen appreciation for the talents of Lamb and Clarke.
In keeping with this minimal feel, the set design is confined to a screen and moveable cubes. The projections generally all have an aquatic theme. Granted, the connection between childbirth and water symbology is perfectly evident, however, thematically it’s a heavy-handed stroke that really isn’t necessary as a repeated motif, bubbles and all.
The play centers on a fairly common idea. Parenthood can be terrifying, and the fallout of such fear can upend if not undo relationships. The question thus becomes is the love ultimately stronger than the fear.
Running Time: One hour and 10 minutes with no intermission.
“Expecting” runs through May 25, 2024 presented by c21Theatre Company at The Keegan Theatre, 1742 Church St NW, Washington, DC 20036. For more information and to purchase tickets, go online.
