Packed with dark humour, this unconventional love story is a refreshingly honest portrayal of the complexities of modern day relationships.
We are told at the outset that ‘love is not a cast-iron set of symptoms. Love is whatever you feel it to be.’
And there follows a bitter-sweet tale of two lonely people who enjoy a strange, virtual courtship.
After getting fired from her job for lacking ‘visibility’, Sophie, who admits to having suicidal thoughts, longs to ‘be seen’.
She sends a video baby monitor to her downstairs tenant, Jonah, who is all too happy to observe her.
Having previously volunteered as night watchman for the religious commune on which he was raised, he is comfortable with adopting the role of voyeur.
The monitor allows the pair to eat, read, listen to music together, even watch the same television soap without actually having to physically connect.
The irony of them watching each other, just as the audience is watching them, makes their story all the more compelling.
The play takes a twist when Jonah begins following Sophie as she leaves her home, something that unnerves her at first but in which she later becomes complicit, planning places for them to go ‘together’.
An accident one day sees her end up in a coma and it’s only after waking up that she meets Jonah in person, someone who like her has experienced the grief of losing a parent.
Perhaps the most heart-warming scene is that in which Jonah recreates a fond memory from Sophie’s past, putting her bed in the garden in the same way that her father once did while she was recovering from dental surgery.
The couple move in together and, just as the audience suspects a happy ending is possible, the relationship breaks down and the pair are back to square one - no-one’s fault, just one of those things, just life.
Lizzy Watts and Thomas Pickles were endearing and captivating as the play’s two main characters, absorbing the audience into their quirky little lives with ease.
They also did well in playing the roles of other minor characters while using few props and a simplistic set.
Perhaps not the best play for traditional romantics but definitely one for the more cynical among us.
Blink, a Soho Theatre and Nabokov production, is showing at the Theatre Royal, Bury St Edmunds, from January 21-22.
Review by laura Smith