Invincible is a curious show. The production, on the Studio stage in the Birmingham Rep, was very much a show of two halves, the latter being the far superior of the two. It is here that the dramatic and comedic find a happy balance which makes the material all the more effective.
Haughty, hyper-liberal Emily (Emily Bowker) and fumbling Oliver (Alistair Whatley) are facing financial difficulties and relocate their small family from London to an undefined northern town in order to pinch pennies and live around what Emily so condescendingly calls “real people.” Here they meet their new neighbours – quiet receptionist Dawn (an under-utilised Kerry Bennett) and motor-mouthed postman Alan (Graeme Brookes). Both are true locals. Dawn has never moved street – she was born across the road.
Taking place over the course of an evening, in the first act, and a few months, in the second, the interactions of the foursome are a jumble of misunderstanding, criticism, contradiction, implication, and capitulation. None of the characters emerges unscathed, yet unfortunately only one of them emerges with any real sense of idiosyncrasy.
Brookes’ Alan is a genuine delight on the stage. The most overtly comedic character is also the one seemingly painted in the broadest strokes when he first appears on stage, but quite quickly it becomes clear that this is some careful calibration by Brookes. His emotional journey throughout the play is realised well, and he is unfailingly funny. (On another note, Brookes also has one of the best stage-laughs that I have ever had the pleasure of hearing. It’s wonderfully infectious.)
Comedy has always mined from stereotype, and of course from exaggeration, but it is in their combination that Invincible has a problem. There could be far more nuance in these examples of Northern and Southern couples, and it takes too long for any of this to be teased out.
The opening argument between Emily and Oliver is a poor introduction. Neither Bowker nor Whatley cuts the other off soon enough, meaning the script is awkwardly tangible on stage. I could see the puppet strings. Each settle into the roles, loosening up as their characters do, though the former is given little opportunity to play anything but libertarian banshee in the first act. The monotone of this sourness cheapens what later sympathies the narrative affords her, though thankfully the second act gives her (and sees her expertly execute) some of the funniest gags.
The impression that the overall production left with me was a particularly muddled one, so I perused some other reviews of Invincible. It is unsurprising to find that the show typically receives praise online, but the most ecstatic acclaim is attributed to the script – that was a surprise. The material is neither as novel nor consistent as some propose. Such praise makes more sense when one recalls that this is the first time Invincible has been toured outside London. Dare I say, the particular brand of middle-class mauling on offer here likely functions as egoist masochism in the capital.
Invincible improves greatly as it chugs along, and after its characters consume some wine. Its set design is charming, and its direction is solid. By no means revolutionary, and in need of a more precise hand, it is an enjoyable show nonetheless. ★★★☆☆ Will Amott 19th May 2016
