A cup of coffee and the question ‘What is your fantasy death?’ A unique welcoming as you enter the set of Ben Target’s Lorenzo, though one that aptly sets the successive warmth and whimsical tone of the evening.
Directed by the late Adam Brace, the Edinburgh fringe hit show takes its way to London’s stage at the Soho Theatre. Performed by stand-up comedian Ben Target, the solo play is a brave, candid, yet humorous piece that depicts the reality of end-of-life care and the meaning of family.
Target is an enchanting storyteller as he recounts the time spent with his uncle Lorenzo providing palliative care, whilst intertwining re-enactments from his childhood. Although not his biological uncle, Lorenzo was born in Hong Kong and came from a family of Chinese gangsters. He was taken in by Target’s grandparents in the 60s and they travelled to Cuba before being forced out by authorities, and Lorenzo made his way to London solo.
Target describes their close, familial-like bond whilst he was growing up; their dedicated time for silly o’clock, carpentry conversations, listening to Chopin, and Lorenzo’s unpredictable words of wisdom. As Target states, Lorenzo was indeed the family he chose.
Amidst the height of the pandemic in 2020, Target moves in with Lorenzo to care for him, following a stroke, and the duo’s close bond is put under strain. What at first seems as though the two will see the amusing side of things and enjoy quality time together, with Lorenzo initially opening the door to Target completely naked, the stark realities of caring for an elderly relative quickly become apparent. Target exhibits the mess, monotony, and stress that comes with it all, notwithstanding the inevitable shadow of death that lurks. At times, Lorenzo is a hard watch as it illustrates the struggle of seeing your loved ones suffer and losing yourself in the process when there’s no other hand to hold for support.
Accompanied with the transitions between Target and Lorenzo’s memories together and the sombre present day, is a blend of comedy and poignancy. Target effortlessly has the audience laughing one moment, followed by a quiet seriousness the next, and they indeed work very well together. Target does not shy away from emotion, and his glossy-eyed scene towards the end is one that deserves particular credit.
The set comprises solely of a wooden workbench. Though minimalist, the set is impactful as it serves as a visual for Ben’s family home in London, and is both reminiscent and celebratory of Lorenzo’s career as an architect and his love for carpentry. We even witness Target perform simple yet effective wood carving movements, not to mention a rare creation of a Wagon Wheel with the workbench’s utilities.
It was indeed a pleasure to dip into Target’s world and experience love and loss through his lens, which is undoubtedly familiar to so many. I almost felt as if I had met the illustrious Lorenzo myself.
A tender and sincere sixty-five minutes, Lorenzo leaves you lamenting on your loved ones and may also make you hungry for a Wagon Wheel.
Ben Target: LORENZO was playing at the Soho Theatre.
