Proof is a play that I have read before and that I admire, due to the originality of the concept. It’s not often that a play surrounding mathematics usually interests the common theatregoer, but the language settles so truthfully that it is a truly astonishing piece. The piece won a Tony Award, a Drama Desk Award and a Pulitzer Prize Award, among many others, so it is clear that the work is impressive.

What’s interesting is that the whole show is set at different times in the back yard of a rustically old family home in Chicago. From the set we can see the attention to detail in making this possible, and it really sets the scene nicely for the story of these characters to unfold.

However, I’m afraid the show is largely dented by the lenses through which these characters are portrayed. Cathy is a strong young woman who is facing a battle between cognitive genius and a question of mental instability, but this is just not made clear by Julia Papp. There are times when the writing is giving her access to materials that create build-ups of emotions in order to explode, but sometimes this is just difficult to follow. I found that Papp will often resort to a state of brushing her hair back, folding her cardigan into herself and general flapping, which to me is not characterisation – it is a comfort state and lacks imagination.

The biggest distraction, however, is an issue regarding accents. I regret to say that casting a show with actors who cannot justify the accent is highly unsatisfying, as it destroys the illusion of the concept of entering another world with these characters as people, not actors. Unfortunately, Cathy’s accent plays a major part in this. I just think in a play widely revolving around mathematics, or “math” as our transatlantic cousins say, it is important for the audience to understand this. But Cathy saying “F*** it, it’s just meth, I’ll just do it on my own!”, creates an entirely different meaning, and not the one that was intended.

To give Papp her dues, she isn’t the only one with a dodgy accent. It seems Tim Hardy is also having difficulty with the accent, which unfortunately makes some of the words sit uncomfortably on the ear of the audience. Luckily, Hardy’s sombre and hypnotic tone is mostly enough for us to forgive this, as he plays the father figure with an authoritative yet lovable manner.

In contrast, Kim Hardy completely nails the geeky charm of a genius with a crush. His awkwardness is fluid throughout his body and his mannerisms are believable as the lovable ‘dork’, and I found him extremely interesting to watch. Mary-Ann Cafferkey also triumphs in the piece, with her patronisingly calm demeanour that is very amusing at times and creates a lot of light relief through the piece. My only criticism for this would be that she seems slightly too young for the role, but she certainly does a great job at dignifying the character.

The performance has so much potential, but overall leaves a slightly sour taste. However, whilst being provided with such a great text, I can only hope that the actors keep striving to improve to flourish as the play intends to, so that audiences in the future can experience a great performance all round.

Proof is playing at the Tabard Theatre until 24 October. For more information and tickets, see the Tabard Theatre website. Photo by Camilla Greenwell.