Traditionally, we’ve been led by books, movies and the like to believe that “happily ever after” starts when you get married and settle down. This is particularly interesting when you consider that one of the oldest stories ever told is all about a couple who proved that theory wrong in spectacular fashion.
In Tim Cook’s reimagined Genesis story, newlyweds Adam (Lee Knight) and Eve (Jeannie Dickinson) are moving to the country and buying their first house. It’s not quite Paradise, but they need to get on the ladder and it’s all they can afford, especially now they’ve got a baby on the way. Their “masterplan” is all going swimmingly – until English teacher Adam is suspended from work after being accused of improper behaviour by Nikki (Melissa Parker), one of his students. At first, Eve is more than willing to stand by her man, convinced the accusations are a fabrication and will soon blow over. When they don’t, the first doubts creep in and she begins to wonder just how well she really knows her husband.
She’s not the only one. Over the course of 65 minutes, the story takes multiple twists and turns, and the balance of power shifts back and forth several times, keeping the audience in a permanent state of uncertainty with no idea who we can trust to tell the truth. It’s difficult to talk too much about the performances from Jeannie Dickinson, Melissa Parker and Lee Knight without risking spoilers but I can say that all three are excellent, taking on board the subtleties in the script and giving us just enough to keep us guessing throughout.
All the characters have significant flaws, and both Adam and Nikki give us plenty of reasons to simultaneously doubt and believe their version of events; even when the truth is revealed, there’s still a lingering suspicion that the other party may not be entirely guilt-free. The play’s conclusion is cleverly seeded by Cook – looking back to the start of the play, we can see the clues we missed earlier – but left me wanting more: to understand more fully the guilty party’s motivation, which is clearly complex but only briefly explained, and to witness the fallout from the big reveal.
That should be taken as a compliment, however, because what’s already there is an hour of tense, gripping drama during which it feels like anything could happen. With just a couple of chairs making up the set, director Jennifer Davis makes effective use of the empty space, maintaining a physical distance between the characters so that every scene – even early on – has the potential to escalate quickly into a conflict. Add to this the way the characters continue to eyeball each other suspiciously during scene changes, and the result is an atmosphere of simmering tension that keeps us on our guard from start to finish.
In Adam and Eve, Tim Cook takes the themes of temptation, trust and accusation and proves that while we may now be living in a very different world – a world dominated by money worries, fake news and the relentless pressure to be perfect in the eyes of others – in reality, humanity has changed very little since the original Adam and Eve got kicked out of the Garden of Eden. If there’s a small consolation to this depressing fact, it’s probably that at least we have an excuse; if they couldn’t make it work in Paradise, what chance is there for the rest of us?