The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Splendour
By Abi Morgan
A Stables Theatre production
Directed by Julia Dance
23–31 October 2009
Reviewed by Melanie and Arthur Kitson
By Abi Morgan
A Stables Theatre production
Directed by Julia Dance
23–31 October 2009
Reviewed by Melanie and Arthur Kitson
Splendour deals with the tension and fear surrounding unrest and dictatorship in an unknown, possibly eastern-block country. Audiences will have found the play an intriguing and challenging piece of theatre: the storyline emerging through looping repeats of text, each one revealing an extra layer of information to move the play towards its denouement. It was sometimes confusing, sometimes witty and definitely thought-provoking.
The drama relied on the actors’ skill to build the tension and unravel the complexity of the situation for the audience. The foreboding sense of disaster was well captured by Dorothy Barlow in her portrayal of Micheleine, the dictator’s wife. Her performance clearly exposed the compromises she had made to attain her position and her resolve to hold on to them even in the face of death, with a place in history better than capitulation. Janet McCarter, as Genevieve, evoked our sympathy in her role as the bitter and much-used “best friend” of the Dictator’s wife, who had again compromised to survive, but only to see her husband murdered and her sons estranged through the regime she had flattered. Sarah Evans, as Gilma the interpreter, provided a thread of humour through the play, in her oversized pocketed coat, into which everything went that was not nailed down. And Katy Worobec, as Kathryn the photojournalist, gave us an anger and confusion at the situation she had been sent to record.
The four characters are on stage throughout, in a set which was minimal and had as a focus an abstract picture, in a role of its own, which mirrored the dialogue and cleverly changed as the play reached its conclusion. A black stage evoked the dark undercurrents of the plot, with blood-red lighting changes and snatches of eerie music punctuating the play’s progress. A stunning red dress for Micheleine contrasted with the white sofas and gave us a simple but stylish image.
This was undoubtedly a difficult play to undertake, with its complex construction and themes of lies, compromise, survival and ultimately destruction. The actors rose to their task commendably. But with such weighty subjects to address, the production could have withstood even stronger delivery, interpretation and enjoyment of its dramatic themes to engage us fully in this unusual but striking piece of theatre.
The drama relied on the actors’ skill to build the tension and unravel the complexity of the situation for the audience. The foreboding sense of disaster was well captured by Dorothy Barlow in her portrayal of Micheleine, the dictator’s wife. Her performance clearly exposed the compromises she had made to attain her position and her resolve to hold on to them even in the face of death, with a place in history better than capitulation. Janet McCarter, as Genevieve, evoked our sympathy in her role as the bitter and much-used “best friend” of the Dictator’s wife, who had again compromised to survive, but only to see her husband murdered and her sons estranged through the regime she had flattered. Sarah Evans, as Gilma the interpreter, provided a thread of humour through the play, in her oversized pocketed coat, into which everything went that was not nailed down. And Katy Worobec, as Kathryn the photojournalist, gave us an anger and confusion at the situation she had been sent to record.
The four characters are on stage throughout, in a set which was minimal and had as a focus an abstract picture, in a role of its own, which mirrored the dialogue and cleverly changed as the play reached its conclusion. A black stage evoked the dark undercurrents of the plot, with blood-red lighting changes and snatches of eerie music punctuating the play’s progress. A stunning red dress for Micheleine contrasted with the white sofas and gave us a simple but stylish image.
This was undoubtedly a difficult play to undertake, with its complex construction and themes of lies, compromise, survival and ultimately destruction. The actors rose to their task commendably. But with such weighty subjects to address, the production could have withstood even stronger delivery, interpretation and enjoyment of its dramatic themes to engage us fully in this unusual but striking piece of theatre.
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Photographs > www.artypharty.com
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
