Love Steps at Omnibus Theatre

Anastasia Osei-Kuffour’s directorial debut is a dynamic and lyrical exploration of the emotional storm faced by a young, single woman in the 21^st century. Feminism and the quest for independence haven’t quenched that underlying, almost primal yearning for the “other half”, echoing Plato’s ancient myth. Neither have they quieted the not-so-subtle pressure of family, friends and society about reaching certain milestones by a specific age. It may be the seemingly innocuous questions about “waiting to be introduced to the boyfriend” or the abrupt reminder that time is ticking, especially for the body. The expectations and concerns suggesting that a woman cannot look after herself gain ground when said woman already profoundly longs for mutual love and starts questioning herself over why that heavenly match hasn’t happened yet.

The play opens with a smooth and visceral monologue about tender and voracious blending with a partner. It then transitions to rapid scenes of Anna (Sharon Rose) interacting with her father, mother, churchgoers and friends, whose conversations all revolve around the same topic: her absent significant other and singletude. Theatregoers are drawn into the protagonist’s foray into online dating with a humorous breakdown of the stereotypes she encounters. Eventually, Anna, a 34-year-old accomplished writer, progresses into a loving crush and, later on, dating a guy. But the journey takes unexpected turns, as the honeymoon phase, the blissful connection, lasts for six months, before getting to the challenging point of forging a solid and lasting relationship.

The audience is invited to delve into the contrasting emotions experienced by the leading character, initially feeling a sense of incompleteness and then grappling with confusion and frustration as the pieces of her life’s jigsaw refuse to come together. The final part of the show is a spinning whirlwind of self-blame and finger-pointing: where does the truth lie? Where was the lesson to learn? And where was the grief that might have been evaded?

Reece Richards is incredible in his character switches: he brilliantly shifts from the role of the wise friend to that of the seductive dancer. Sharon Rose embodies a tirelessly searching soul, infusing her performance with a blend of humour and reflective depth.

The script, with its rhythmic pace, masterfully mixes everyday language with eloquent expressions, the beating next to the bleeding. The stage is empty with lights that alternatively cast warm and cold hues. The foggy effect could have been omitted, while the piece could have been enriched by lengthening the sequence of Anna’s early interactions and her moments with the boyfriend.

The themes are pivotal to many, although seldom discussed openly in workplaces or within the happily-ever-after social circles to avoid being labelled overly complex or lazy. The play succinctly (less than two hours) delivers these internal debates in a powerful monologue that sleekly weaves into dialogues. All the while, Osei-Kuffour engagingly blends rhymes and dance moves, where the music plays a distant yet compelling role in the background, present but not overpowering the swings of the narrative.

Cristiana Ferrauti
Image: Steve Gregson

Love Steps is at Omnibus Theatre from 3^rd until 20^th April 2024. For further information or to book visit the theatre’s website here.