Link to full review of: A Streetcar Named Desire
Link to full review of: How A Man Crumbled
Link to full review of: The Crucible
How A Man Crumbled – Clout Theatre
Showing as part of Mimetic Festival 2014 (17 – 29 November 2014)
In writing this review I discovered that Daniil Kharms’ 1939 novella, The Old Woman, is available to read online. However I urge anyone to hold back until they have seen Clout Theatre’s wonderful re-invention of Kharms’ surrealist story, as half the fun is putting yourself in their hands and watching how the inspired, frenetic lunacy eventually yields results and tells a very understandable story in a most absurd way.
Clout delivers a highly stylised piece of physical theatre which draws as much of its inspiration from the innovators of early European cinema as it does from theatrical tradition. We see the expressionism of F.W. Murneau in the careful and controlled use of spotlights to create a sense of dramatic tension through the interplay between light, dark and the spaces in between. Alongside this there runs, in the writer’s relationship with the world, the slightly off-kilter, unreal societal pressure that works to create the crushing paranoia of Fritz Lang’s M.
It is how this keen cinematic understanding is set against a clear understanding of the demands of physical theatre that is most impressive. It is one of the hardest styles of theatre to get right, and when it goes wrong it is highly noticeable. The credit that can be given to practitioners, like Stephen Berkoff, who did so much to popularise the style in the UK is to point to all the terrible productions that followed in their wake that clearly assumed it was just a case of slapping on some greasepaint and a black polo-neck.
The three actors, Sacha Plaige, Jennifer Swingler and George Ramsa, directed by Mine Cerci, stretch themselves to their physical limits. They understand that to perform grotesques they must reach extremes. Each gesture is exaggerated and each movement is set down with an absolute sense of its purpose and meaning. As a result every action has a function and a reason for existing, no matter how absurd it appears.
One could apply this to any example but particular credit must go to Sacha Paige’s portrayal of the old woman. The intensity with which the clock face is presented and the mugging expressions that accompany her every action are a true masterclass in the art of the physical. I never thought that a dreamed creation would be quite as surreally unsettling as the dwarf in Twin Peaks but Paige’s old woman is a terrifying creation; a deathless force that acts as a constant reminder of the writer’s mortality.
For the full review and much more on Mimetic Festival, please click here
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