Czech playwright Peter Kolečko’s Poker Face presents generational conflict over politics and romance. This is Czech Republic in 2011, and a play for 2016; so the programme reads. Onstage from the production team, a staff models a t-shirt advocating EU membership. How relevant is Kolečko’s work in London? Poker Face has most of the ideas of political drama yet it doesn’t quite reach a point to deliver a message.
Two women and one man. A love triangle, or in this case a sexual triangle. Mother, daughter and an idealist. Jana is Pavlina’s mother and Viktor her daughter’s boyfriend. During the fast paced moments, a different aspect of maternal affection juxtaposes with the nation’s political backdrop. It’s Christmas and Czech Republic are mourning the death of an Official. Viktor is introduced to Jana and immediately her suspicion kicks in. Jumping right to his motives, instead of what is expected, both succumb to their instincts, whilst outdoing one another.
Vaclav Havel: his memories are mysterious yet his presence, prominent. A former writer and President of both Czechoslovakia and then Czech Republic. Despite being married, he holds the infatuation of Jana. A charismatic man, yet during a night with a group of dissidents, a power cut results in the conceiving of Pavlina. Will Jana jeopardise possibilities to become a world famous poker player or will she accept her motherhood? Presently - will she enable her daughter to become a stronger person or will she hold on to the news headlines broadcasting the death of Havel?
Without an interval Lara Parmiani’s portrayal of Jana allows the 70 minutes to pass swiftly. Her Bond like vision is entertaining, but the moments when her lack of love towards her daughter is exposed are the moments in which she exceeds.
Daiva Dominyka masters Pavlina’s childlike despair, yet she lacks the emotional turmoil that is expected from someone in her position. Seeking affection depicts the individual being scolded. Pavlina’s character is presented without depth and Mark Ota similarly has a difficult task with Viktor. Ota portrays the role of Lothario all too well yet when reaching the moments of delinquency, he loses the vivacity of an idealist and comes across as a mere young boy.
The stage boasts video imagery that, despite its overpowering moments, does distract from Jana translating the recorded speech. The script is not much of a comedy, yet the production, directed by Becka Mcfadden, uses humorous action to provoke laughter. Bananas used as weapons to then be eaten are understated examples of this. A serious thriller, yes, but without Mcfadden’s talent it would lack continuous engagement.
The Made in Prague Festival opens in London on 5th November. To bridge any disconnections as a result of the referendum, EU drama and festivals will reconnect those who may be angered or disenfranchised by the current political climate. Treat Poker Face as a taster to what the festival will bring to the UK.