The National Theatre’s Antigone brings this ancient tragedy forth into a modern day setting. It is quite astounding how the ancient moral dilemmas are still very much applicable to today’s tumultuous society.
The tale is based upon social values, power, and mortality. Antigone, the eponymous heroine, longs to follow her heart as well as her religious beliefs by giving the last burial rites to her dead brother Polynices, Yet her uncle, the newly crowned King Creon has decreed that the rebel must be denied these rites and be left unburied. The King is blinded by his sole focus on the power of the state and loses sight of all reason. The chorus arises from Creon’s support staff of office workers, guards, and mail room staff.
This is the young director Polly Findlay’s first show in the cavernous Olivier Theatre. She and designer Soutra Gilmore have placed inside a pentagon-like office with armed security, glass walls, and desks made for paper shuffling. The rotating set is brilliant and once again provides another design triumph for the National.
Christopher Eccleston’s performance as Creon is enchanting. You know the car crash is coming, but he so completely embodies the role, that the audience cant help but watch in awe and agony. His character is driven by both a personal certainty and a need for power that together create a poisonous mix. His continuous missteps – first with his niece Antigone (Jodie Whittaker) then with his son Heaemon, and finally with the soothsayer Tiresias (Jamie Ballard) – his pride continues to lead Creon right to the catastrophic fall. Yet he is obstinately blind to the consequences. Ballard’s tortured performance as the scarred prophet who summons the furies is superb.Whittaker physicalises her torment and the accelerated descent from rebellion to insanity.
This is a simple, straightforward, and faithful staging of Sophocles’s work. Findlay has successfully set this ancient story in modern times. It is a powerful piece that resonates. It is full of energy and the messages, thanks to the outstanding performances and high-paced staging, ring true. I left breathless.
Love Song – such a whimsical title. It is clear from the second scene of this Frantic Assembly that this is indeed the aim of the author Abi Morgan – to compose a theatrical love song of sorts to unfold upon the stage.
We start at the end and simultaneously the beginning. Two couples enact this tale of the story of Maggie and Billy, both in its youth and old age; an interesting concept. The stage is covered in autumnal fallen leaves –suggesting that the real emphasis lies in the winter of this relationship, rather than the hoped for spring.
The young couple (Edward Bennett and Leanne Rowe) move to America to further his dental career. She, after losing the hope of bearing children, finds her self with little to occupy her time and so becomes a librarian. It is a typical tale of 1950’s middle class couples. There are arguments, money troubles, fidelity issues, conception obstacles, and the inevitable challenges that arise with old age (Sam Cox and Sian Phillips). So here we are, presented with two ends of the spectrum and rather than an array of colours in between, all that I could see was grey.
This tale of the childless couple getting by with just each other has been told before. In order to make this at times extremely touching story fly, the author needed to incorporate depth, personality, passion. Yet none of that comes through in this production. Frantic Assembly focus on movement in their productions and you can see that here, movement plays an important roll in the telling of this story. It is excellently staged and the stories intertwine seamlessly, yet much like the attempted choreographed dance interludes, the telling of this worn out tale is lifeless. Even Maggie’s chosen last moments lacked any conviction. I remained unmoved.
Many of the choreographed staging moments should have been cut by directors Scott Graham and Steve Hoggett who really should know better. The multi-media back panelling added little to the stagnant set.
By the end of “Love Song” I had lost interest. There was a distinct lack of substance to these characters. I longed for texture and depth, the stuff that any good love song is comprised of. However, this lacklustre love song was markedly missing the all important verses, in the end being incapable of moving beyond the redundant the chorus.
Lovesong is on until 4 February at the Lyric Hammersmith. Click here to book tickets or call 0871 221 172
I was not quite sure what to expect when travelling to the Rose Theatre in Kingston to see Julian Sands in a Celebration of Harold Pinter. This past year I have attended three Pinter productions in London and been extremely moved by the playwright’s accurate portrayal the emotive layers of the human psyche, by his simplistic and direct conveyance of the chaotic through the medium of theatre. Pinter, when done well hums, vibrates through the air and hits a pitch that few others in his field can match. When done poorly, well lets just say you would rather stay at home for the evening.
So on to the stage walked Julian Sands, the British actor who first caught my attention in his portrayal of Liszt in the film “Chopin”. His figure was striking against the black stage as he entered. His cool crisp English accent cut through the still air as he breathed life into the written words of Pinter.
This one man show, which originated earlier this year at the Edinburgh fringe festival, is directed by John Maklovich. It is a piece I wish I could have experienced in rehearsal to witness the interaction between Malkovich and Sands. As it was, I tried to imagine the interplay between the two during parts of the piece. During deliberate pauses or ironic tilts of the head, I could sense Malkovich’s guidance.
It is argued that Pinter may be the greatest UK playwright of the 20th century. Yet in this production it is the poetry and the man that Sands focuses upon. Sands personal admiration and compassion for this stage legend come through in every breath of the performance. He admires both the weaknesses and the strengths of Pinter’s character. Through personal anecdotes, private stories, and reading of the written word, the audience feels as if they are presented with a rare glimpse behind the scenes of Pinter the public figure. His character comes alive through this three dimensional representation which this piece presents.
Pinter’s poem “I know the place. It is true. Everything we do corrects the space between me and you” stands as a corner piece of Pinter’s deceptively simplistic style. Sands recollects how the writer, upon a misreading, suggests that he should read it and that one day he may understand it’s meaning. And it is in this that we find the true essence of Pinter, his words, language, literature will represent different meanings at different stages in each of our lives. His work does not stagnate, but evolves with the reader’s development and understanding.
This production is a moving portrayal of the lesser-known works of Pinter by a talented and well-informed performer. It was a pure joy and intellectual challenge to experience this performance, just as all Pinter, I believe, is meant to be. I left the theatre and went straight to buy the book “Various Voices”. I challenge you not to do the same.