A series of variations tracks the course of a relationship between two lovers who are a cosmic case study in the precarious miracle of human love.
“Do you know why it’s impossible to lick the tips of your elbows?”
You’d never guess that such an innocent question could kick off a dizzying 80-minute metaphysical probe into the precarious miracle of human love. But in Nick Payne’s Constellations, playing at Source Theatre in a production by Constellation Theatre Company, lovers Roland and Marianne are a cosmic case study in just that, weaving their love story through a repetitive series of self-variations that tracks the course of a relationship through topics as wide-ranging as quantum mechanics, the utilitarian social structures of beehives, and free will.
Payne makes clear from the first scene (and its numerous variations) that structure supersedes story in this work. One by one, researcher Marianne (Dina Soltan) and beekeeper Roland (Tony K. Nam) play out a string of meet-cutes until they finally land on one that allows them to advance to the next step of their story. At each step along the way — the initial dating period, a breakup, a reconciliation, an engagement, a scary diagnosis — the characters confront the factors that could bring their romance to its untimely end, but still manage to find the option that pushes them forward.
It’s soon clear that Marianne and Roland aren’t so much characters as proxies. They are proverbial “everypeople,” stand-ins for the countless relationships that form and fall each day (this is most effectively achieved when one of the scene variations is surprisingly performed entirely in sign language, arranged beautifully by Director of Artistic Sign Language Shanna Sorrells). Their chatter about the cosmos and physics is a reminder we are, as Carl Sagan said, made of “star stuff,” borne of a finicky sequence of scientific events and impulsive decisions. At any point, Marianne and Roland show us time and time again, a love can fall apart. That it can endure is a miracle of the universe.
It’s a beautiful notion and concept that is, unfortunately, hampered by the weight of Payne’s tedious repetitiousness. Wonder, a core emotion central to Payne’s metaphysical approach to love, is best served with space to dream and reflect. In rattling variation after variation, Payne leaves his audience to expend far more energy wondering which of the quick-changing paths Marianne and Roland are on, and attempting to keep the shifting details straight. If Marianne parrots Payne’s thesis about the fickle nature of human existence in describing diverging physics theory — “We’ve effectively asked the same question twice and come up with two different answers” — then Roland offers an unintentional response in his envy of the predetermined roles of bees: “If only we could understand why we’re here and what we’re doing.”
Fortunately, under Director Nikki Mirza, the production’s cast and crew hold a much clearer vision for what they’re doing and execute successfully. Soltan and Nam do impressive work maneuvering between quick tonal shifts and modifications in their characters, adapting line readings to differentiate milieus. Even as the romantic ground shifts rapidly beneath their feet, the two maintain a strong chemistry that makes all the easier the audience’s job of understanding why these two just can’t quit each other despite the odds being ever out of their favor.
And what Scenic Designer Sarah Reed and Lighting Designer Alberto Segarra have done with flexible space inside Source is itself a special achievement. For this staging in the round, the tiered audience is surrounded by speckled netting that evokes the farthest stars of the deep universe. This starry cloak is offset by angular white window panes that are left empty or filled with opaque, luminous plexiglass. One gets the sense that they are contained in a prism, right in the middle of refracting light, with washes of white dispersed into colorful shades on the floor. A small runway and movable illuminated blocks are enough to create a sense of place while supporting the ethereal vastness of the perimeter. Sound Designer Ian Vespermann works dutifully in conjunction with Segarra to signal a new variation, further staving off confusion. And Costume Designer Moyenda Kulemeka’s layered attire helps to mark the passage of time and underscore the tenderness of a caregiving relationship.
All that is great around the play has the benefit of elevating the text itself, despite its lofty challenges. Maybe, just maybe, in the next variation, the production and play will find their perfect level.
Running Time: 80 minutes without an intermission
Constellations, a production of Constellation Theatre Company, plays through March 9, 2025, presented by Constellation Theatre Company, performing at Source Theatre, 1835 14th Street NW, Washington, DC. Performances are Thursdays-Saturdays at 8:00 pm, and Saturdays-Sundays at 2:00 pm. Tickets ($24–$56) may be purchased online by phone at 202-204-7741, or in person before each performance. Constellation offers a variety of discount programs and pay-what-you-will performances. Select performances are ASL interpreted.
Cast and production team credits and bios are here (scroll down).
COVID Safety: Masks are optional except for Saturday matinees where they are required. Constellation’s Health and Safety policies are here.
SEE ALSO:
Constellation Theatre opens 18th season with Nick Payne’s ‘Constellations’ (news story, January 9, 2025)
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