As I stood opposite the box office, waiting to see if there was going to be a cancellation freeing up two tickets, I wondered whether the effort was really worthwhile. This show turned out to be the theatrical highlight of my New York trip.
Based on a 2006 Israeli film the show follows the Alexandria Police Ceremonial Band as they take the wrong bus and end up in an obscure town in the middle of Israel where nothing ever happens. Just about every character in this show is in some way lost. The unexpected collision of people becomes a means of forcing them to open up - an opening in which, just maybe, fragile hope for the future can be glimpsed in a word, in a wave.
Sunday, 22 July 2018
Tuesday, 3 July 2018
Taylor Mac's 24 Decade History (The First Act) at the Barbican, or, A Rather Extraordinary Evening
Note: A review of the performance on Friday 29th June 2018.
If you'd told me at 7.35pm last Friday evening as, disgruntled, I watched the audience continue to trickle nonchalantly in (the advertised start time of this three hour show was 7.30pm) that some two and a half hours later I'd have a supporting cast member sitting beside me pretending to be drunk while I patted his hand and Taylor Mac sang a lullaby and, more importantly, that I'd be finding this conceit touching rather than annoying I doubt I'd have believed you. But so it was. Regular readers will know I'm not a fan of immersive theatre – that this show, which is full of it, gradually drew me into it tells you how remarkable a piece of theatre this is.
Monday, 2 July 2018
The RSC Imperium Plays in the West End, or, Historical Parallels?
Note: A review of the double bill on Thursday 28th June 2018.
Sunday, 1 July 2018
The Prime of Miss Jean Brodie at the Donmar, or, A Regrettable Absence of Subtlety
Note: A review of the performance on Monday 25th June 2018.
There's an early sign that all is not well with this adaptation of Muriel Spark's classic novel, and it appears on Lia Williams's first entry as Miss Brodie. She's costumed in a skin tight crimson dress. This stands out overly conspicuously in the otherwise grey to black décor of just about everything else. Clearly Miss Brodie is supposed to be distinctive but this carries matters too far, especially when coupled with the exaggerated, mannered delivery which Williams adopts. Very quickly I found this irritating rather than compelling, and the devotion she has to inspire in “her girls” simply didn't make sense in this context.
As this slow-paced evening went on it became clear to me that this initial costume decision is linked to wider problematic choices in the production as a whole. The novel is set in Edinburgh, and David Harrower's adaptation has retained many of the specific references – but there is little sense of place in Lizzie Clachan's bland set of a couple of concrete walls and half a dozen wooden chairs. Nor was I ever really convinced that the streets of Edinburgh, a city where I lived for over ten years, were present off-stage. The sense of time is similarly problematic. Again the script is very specific – we are in the interwar period – but the staging does nothing to really convince that this is when we are. Given that a crucial plot point hinges on that timing this is another significant issue.
There's an early sign that all is not well with this adaptation of Muriel Spark's classic novel, and it appears on Lia Williams's first entry as Miss Brodie. She's costumed in a skin tight crimson dress. This stands out overly conspicuously in the otherwise grey to black décor of just about everything else. Clearly Miss Brodie is supposed to be distinctive but this carries matters too far, especially when coupled with the exaggerated, mannered delivery which Williams adopts. Very quickly I found this irritating rather than compelling, and the devotion she has to inspire in “her girls” simply didn't make sense in this context.
As this slow-paced evening went on it became clear to me that this initial costume decision is linked to wider problematic choices in the production as a whole. The novel is set in Edinburgh, and David Harrower's adaptation has retained many of the specific references – but there is little sense of place in Lizzie Clachan's bland set of a couple of concrete walls and half a dozen wooden chairs. Nor was I ever really convinced that the streets of Edinburgh, a city where I lived for over ten years, were present off-stage. The sense of time is similarly problematic. Again the script is very specific – we are in the interwar period – but the staging does nothing to really convince that this is when we are. Given that a crucial plot point hinges on that timing this is another significant issue.
Subscribe to:
Posts (Atom)