In Stockholm, Bryony Lavery presents a couple and the events preceding their anticipated vacation to, you guessed it, Stockholm.  We are introduced to Kali and Todd on the day of Todd’s birthday and, subsequently, subjected to a revolving door of their romantic troubles from petty jealousy to sexual rejection.

It would be reductive to label Kali and Todd’s relationship as one that is typically dysfunctional. Through the intricate and well-executed choreography performed by Hamish Colville and Llinos Henry, this production creates an effective, stylistic contrast between the duo’s physical chemistry and their jarring dialogue.

Lavery’s script is conducted in the third person for almost the play’s entirety, despite the characters’ intimate physicality and emotional delivery. This interesting style of direction appeases the audience who are subjected to Stockholm’s harrowing, two-hour melodrama. Since Kali and Todd act out the different memories and stages of their relationship, we feel less claustrophobic in this one act play.

A particular ‘scene’ that springs to mind is the couple’s re-enactment of their first meeting at a restaurant. Their courtship is both moving and, at times, funny as the actors’ coy lines so visibly contradict the stage direction.

As the relationship conclusively spirals, the entire storyline is interrupted by a monologue written in the style of a news clipping. Delivered by the two in unison, they describe what seems like a kidnapping turned grizzly murder.

In this instance, we are almost force-fed Stockholm’s metaphoric counterpart: Stockholm syndrome. In Stockholm, Lavery’s characters’ display an inordinate desire to visit the city Stockholm. They also happen to display the psychological traits of those suffering from Stockholm syndrome.

In the case that plot summary sounds too harsh, I would like to emphasise that it is the choreography, performance, and stage direction that make this Bedlam production well worth seeing.

 Four Stars