Constellations: A St Andrews Art Theatre Production

Constellations

A St Andrews Art Theatre Production

28/09/2025- 30/09/2025

Directed by Aidan Monks 

Produced by Valerie Creasy

Written by Nick Payne

Reviewed by Mali Delargy

Aiden Monks and the rest of the St Andrews Art Theatre crew bravely reimagined Nick Payne’s Constellations in last night’s production. A fragmentary play involving themes of repetition, bereavement, dignity and uncertainty, Payne’s script could certainly move the most stubborn of auditors. Since I entered the play blind and unfamiliar with the script, you may be better off knowing a few things. First, the play is put on twice and the entire script is repeated with a second cast. Viewers can attend the first and/or second play, Monks recommends watching both, but either way be prepared for a night of intense repetition and upsetting themes. 

The first play, performed by Aubrey McCance (as Roland) and Tatiana Kneale (as Marianne), was wonderfully executed. Their strong partnership had beautiful chemistry producing emotionally insightful scenes - more than justifying Monks’ casting choices. A tennis match of quips – simultaneously funny and melodramatic – set the dialogue at an impressive pace, forming a credible and immersive relationship on stage. McCance’s delivery particularly drove the punchy lines home, simultaneously drawing laughter from the audience and justifying the scene’s repetition with an emotionally intelligent range of delivery. 

The clever repetition of a scene taken from the end of the play and scattered throughout emotionally punctuated the play. Payne’s script ties the future to the present, allowing Monks to gracefully toy with the play’s physical preoccupation with string theory and sense of control and chaos. 

I anticipated the second play, which had the hard task of following a satisfying performance and risked boring a cooperative audience with the same dialogue. Significant changes would be needed to make this creative decision worthwhile. The cast did change: Callum Warman-Browne replaced Marianne as Martin while Dylan Swain became Roland. 

The dramatic irony this introduced to the second play offered a chance for Monks to challenge his audience’s expectations of Marianne and Roland. While this new perspective was interesting, it was not enough of a difference to justify the play’s rerun.

Technical Director Willa Meloth’s lighting and Sound Programmer and Operator Annalise Robert’s music both connected the plays at their crux – repetition which contributed to the emotional development and intensity of each play.  Martin’s steady deterioration was wonderfully depicted by Warman-Browne, producing many a tear in the audience.   

Speaking with Monks after the show, he told me he felt confident taking on Payne’s script, since ‘each segment can have incredible divergence, down to the comma, like the score of a libretto’. This speaks to the multiverse theory, a focus on which forged a dynamic quality through the actors’ wide range of different reactions. 

Such focus on range leads me to wonder why it was not exploited more. The problem here is that comparison is an innate reaction to repetition. While this developed the emotion within the plays, it served to pose each play against the other. This meant that the plays exposed each other’s faults despite both being individually moving.  All actors successfully performed the beautiful script. 

I would, without a shadow of a doubt, recommend catching one of tonight’s performances. However, I would recommend seeing both if you think you can withstand the repetition!