You’ve been scammed

The NT’s new play is an update of Pamela, a sexploitation novel by Samuel Richardson. It opens with Stephen Dillane and Cate Blanchett stranded in a concrete garage dressed as French maids. On one side, a black Audi saloon. Mid-stage, colourful blinking lights. At the edges, four other actors lurking. The main characters have no names so let’s call them Stephen and Cate. Who are they? Adulterous workmates, or a divorcing couple, or a male boss and his abused underling? The script reveals nothing about their characters, their backgrounds, their location or their intentions, and the audience’s natural reaction to this indifference is further indifference.

Stephen and Cate grapple physically and deliver a lot of speeches about abuse and humiliation, but their dialogue isn’t supported by any hint of carnal attraction. It’s like watching a hornet mating with a Polo Mint. They swap costumes and identities. He dons her blonde wig and becomes a she.