‘The effect’: love in a clinical trial | Babelia

Lucy Prebble, author, is an expert in addressing strong issues. Debuted at age 22 with The Sugar Syndrome, Comedy about eating disorders in adolescence. In 2009 it premiered , A satire where the collapse of this energy company addresses, an expert in accounting juggles: today it is studied in British secondary education. In, Prebble talks about the social proscription of certain moods with which it once lived. In his words, this piece focuses on the use of pharmacopoeia to mitigate sadness, uncertainty, penalty, anguish and exhaustion, effects that would be reverted more effectively by intervening on the circumstances that cause them.

The effect It takes place during a first phase clinical trial, while adverse effects of a new antidepressant. Tristán and Connie, its protagonists, are two voluntary experimental subjects. To him, 27, the researchers consider him as a professional in this kind of studies, since he is not the first one to reach the end of the month: he is someone curious, active and thoughtless. She, three years older, is cautious and observer. Regarding Lorna and Toby, who run the investigation, they are 50 years old. She maintains a critical distance with her work, which he seems delivered.

The performance of Elena Rivera and Itzan Escamilla, delivered in soul and body to her papers, arouses a palpable sympathy

As Eugene O’Neill in, Prebble intertwines the background theme with an energetic love story. Tristan soon flirting with Connie: they seem antagonistic but must have complementary immune systems, due to the attraction of each other. A substantial part of this function is the game that both bring, and the organicity of its interpreters, and, delivered in soul and body to their papers. The dance with which Tristan approaches Connie and involves it is very true, and the way in which his orbits unite. The comfort with which his work is produced, always physical, denotes that the direction of Juan Carlos Fisher has led to Escamilla and Rivera rubbing without edges. His performance arouses a palpable sympathy.

After some first stages that the author focuses on putting information on her characters, the function is intoned. Prebble discerns with good judgment what data their creatures should share with the public and at what time they should do it: it is caught in its handling of the carpentry, but never takes things out of the credible. Regarding the mature couple, embodied with fervent determination by and, soon bends the role of the young couple: among them there was a deep sentimental relationship, years ago. There is symmetry, then, between clinical subjects and researchers.

Subtlely, Prebble points out how the intervention of scientists influences clinical studies when they are not double blind, that is, when the contracting party knows who receives the drug and who receives a placebo, and how the desire to bring such studies to term can lead to fraudulent results. The public forced the actors to greet four times; In the last one, much stood up. Upon exit, the work was the issue of generalized conversation.