We could be forgiven, as Audrey Cefaly’s The Gulf begins, for thinking we’d stumbled on an idyllic scene. Two women sit by the water in what appears to be companionable silence: one fishing, the other sunbathing. It’s only when the silence is broken that we begin to realise the vast distance that separates Kendra and Betty, even when they’re sitting right next to each other. Stranded on a broken down fishing boat, as the light fades around them, the couple are forced for the first time to really face up to their problems and make some tough decisions about their future.

The Gulf is an intimate and realistic portrayal of a relationship in crisis; like any couple, Betty and Kendra’s conversations keep circling back to the same few subjects, and when there’s nothing left to say they lapse into long, awkward silences. Unfortunately, in achieving this verisimilitude, the play sacrifices any sense of drama, and the lack of pace in Matthew Gould’s production means that much like the broken down boat the two women are stuck on, it ultimately doesn’t really go anywhere.

All of which is a pity, because the performances from Louisa Lytton and Anna Acton are very good. Both nail the distinctive Alabama accent, and we get a clear sense of both the journey their characters go on throughout the play, and the striking difference in their personalities. Betty (Acton) is an optimist, who always says what’s on her mind, and is on a mission to improve her own life but blind to the fact that her attempts to do the same for Kendra might be misconstrued as criticism. Kendra (Lytton), on the other hand, is quite content to stay where she’s comfortable; unlike Betty, she mostly keeps her thoughts to herself, but when pushed reveals a deep vulnerability that’s masked by her tough and at times deliberately provocative manner.

It’s also refreshing to see a play that depicts a same-sex relationship but doesn’t make it the main focus of the story. In fact Betty and Kendra’s sexuality is completely incidental to the plot: they could be two women, two men, a man and a woman, or any combination, and the issues they’re facing would still be exactly the same, because they go far deeper than gender or sexuality.

Visually, the production is impressive in its detail – boat engine, picnic lunches, fish guts and all – although at times this contributes further to the slowing of the action; Betty’s careful preparation of a snack, for instance, pauses proceedings for a good couple of minutes, and is particularly frustrating because the audience can’t see what she’s doing. Mitchell Reeve’s lighting works very well, however, fading imperceptibly over the course of the 90 minutes, until the two characters end up sitting in near darkness.

There’s a lot to like about The Gulf, as it delves insightfully into what makes relationships work, and what makes them fail. Unfortunately, though, despite strong performances the play is let down by a lack of drama and pace, making it difficult to really engage with Betty and Kendra’s predicament – as much as we might want to.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉