As a
relative novice I am finding the National Theatre a fascinating experience. I
am completely ready to admit that this is part of my own prejudices as well. I
guess I have to learn not to judge a book by its cover – it generally is a
mixed crowd (generally – I have only been there twice) as far as both age and apparent
social status goes. There has been a very marked older crowd though. You know,
hair done, pearl earrings for the ladies, gents wearing jackets and cravats. My
own personal prejudices would have made me think that they were not the kind of
people who would choose to watch very avant-garde works about sex, drugs,
addiction at all, much less give standing ovations at the end of it. You learn
something new every day I guess. And to be honest I rather like the idea of
this ephemeral thing that unites the
audience – and, once the show begins the actors - that overcomes age, social
class (whatever that may be) and background and unites everyone almost inside a
work of art. I guess I would have to say it is this thing is the main magic of theatre. The story unfolding in front of
you and us getting caught up in it just feet away from the goings on, transported
by the actors and our imaginations… It was magical enough – for me - to be part
of the audience but now trying to walk through the looking glass over to the
other side has thrown up a whole new philosophical debate inside my head (and
my life). In this context the timing of people places and things was very opportune.
I could sum
the plot of the play up in one single sentence. Emma (Denise Gough) has rocked
up to a rehab center one fine night. All she needs is a letter to say she is OK
to go back to work. Ok, maybe a little detox wouldn’t go amiss either. But
that’s it really. She has no deep set issues or kinky shit she needs to sort
out. No need to talk to the group; surrender to a higher power or any such
nonsense. She’s savvy. She knows what’s what. She’s different – or is she…
Now, minor
spoiler as far as the plot goes (soz, but I would find it INCREDIBLY hard to
write an accurate review otherwise ),
Emma is an actress. Rest assured, this is more than an excuse provided by the
writer for her drug and alcohol habit, or indeed a potential danger for when
she leaves the center. I mean, to be absolutely honest with you I would love to
be able to watch the play again – I actually might. The aim of the play, apart
from expressing a real love for the craft of acting, is to explore multiple
realities. The stories we tell ourselves versus the version of us we willingly
– or often unwillingly and unwittingly – show to others. What better way to do
this than to use a craft where the practitioner needs to actively live multiple
lives and be multiple people. A strange
thing to be payed to do, especially in a world where being one single person
can already be quite complicated…
The beauty
of this play is though that it doesn’t batter you with these very heavy themes.
They sort of seep in, you only realize they were there when you sit back, think
about it, and realize they have already seeped into your brain. Because the
stage design is just so totally amazing, so completely mesmerizing that it
comes with a warning about strobe lighting and total blackouts in the
auditorium. You will get literally nothing about it out of me. It is one of THE
most visually striking THINGS I have seen in my life and you absolutely HAVE TO
experience it cold. And that’s basically that.
This play
will sit in your head for a while. There are wonderful insights into the world
of acting, sure, but also wonderful reminders of what it is like to try to be a
million different people in one day. Of being utterly sure one is unique when
actually one is (actually or metaphorically) one in a long line of actors /
actresses who look just like you trying to stand out via the tiniest little
nuances. It’s weird and the description may make it sound sad, but in a funny
kind of way it’s also liberating…
In short,
come take a shot of the magic. This batch is particularly strong…
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