Tag Archives: Chuma Emembolu

Don Juan – 4 Stars

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Juan

Don Juan

Hoxton Hall

Reviewed – 27th April 2018

★★★★

“The music is beautifully chosen and forms a beguiling and well-crafted backdrop”

 

Molière’s daring script, based on a story by Tirso de Molina, was published in 1665, with a milder version written by Corneille in 1677 at the request of Molière’s widow. Director, Anastasia Revi, makes bold, enriching changes to the play, emphasising a less considered aspect of Don Juan as a man who is victim of his own desires. The initial scene setting is brilliantly clever, playing with the audience’s preconceptions, and the added ‘Illusion of Love’ character creates a visual dimension to Don Juan’s vulnerability. In addition, placing the action at the Venice carnival rather than Sicily allows for a more playful atmosphere. In the play, newly-wed Don Juan is pursued by vengeful relatives while embarking on further amorous adventures. After fleeing, unrepentant, he experiences a series of supernatural encounters before finally confronting his failings, and fate.

Peter Rae is superb as the free-thinking, amoral Don Juan, consumed by his weakness for women and without a care for the distresses he leaves behind. He puts across a self-assured nonchalance as he engages in entertaining, philosophical discussions with the devout yet ambitious Sganarelle, wonderfully portrayed by David Furlong. Furlong perfectly balances the servant’s need to challenge his master’s views while being careful not to risk his job. There are a couple of instances where we enjoy the valet’s own take on Don Juan, but it is the chemistry of their relationship that defines this interpretation and drives the narrative.

The discarded yet defiant Elvira is played by Emmanuela Lia in a strong performance as she scorns her husband’s deceit until recalled by her faith to the convent. There is a wealth of distinctive characters in the talented hands of Benoît Gouttenoire and Samuel Lawrence who, behind Venetian masks, appear as men, women, young and old. In particular, Lawrence’s Pierrot and Don Luis stand out. Signe Preston as the Illusion of Love gracefully weaves round the theatre enticing Don Juan’s susceptibility.

Anastasia Revi’s inspired direction assimilates the whole theatre space, involving the audience in the action and giving energy to the production. The music is beautifully chosen and forms a beguiling and well-crafted backdrop, at times providing its own comedy. The resourceful set design by Valentina Sanna uses a handful of props to conjure up a privileged lifestyle and she makes good use of height on the small stage. Chuma Emembolu’s lighting articulates the contrasting moments with precision and sensitivity, and the costumes (Valentina Sanna) and wigs (Umberto Fiorilla) add a touch of disguise to the carnival spirit. As minor comments, the sound is slightly too loud during certain sections of dialogue and the masks occasionally muffle the speech.

Theatre Lab’s ‘Don Juan’ transforms the cliché of seductiveness into an almost endearing cynicism, a weakness of indulgence rather than the acme of male prowess, and in doing so, the female element becomes more dominant and the passages of philosophising make more sense. With an excellent cast and lively staging this is somehow both rollicking entertainment, and food for thought.

 

Reviewed by Joanna Hetherington

Photography by Panayis Chrysovergis

 


Don Juan

Hoxton Hall until 12th May

 

Related
Previously at the venue
Oranges & Elephants | ★★★ | January 2018

 

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Fear and Misery of the Third Reich – 3 Stars

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Reich

Fear and Misery of the Third Reich

Jack Studio Theatre

Reviewed – 18th January 2018

★★★

“the fussy details and the gentility of the acting make this production thought-provoking but lacking impact”

 

It is a rarity to find Brecht performed in a pub in South London but it is here where director Rachael Bellis parallels 1930s Nazi Germany with the possible consequences on our modern, global society, of having voted for Brexit and Trump.

Bertholt Brecht wrote ‘Fear and Misery of the Third Reich’ while in exile in Denmark. Inspired by a visit to Moscow, his first openly anti-Nazi play has no plot but is a series of scenes knitted together, depicting the breakdown of normal relationships under the Nazis. The 24 sketches illustrate the gradual distrust, suspicion, deception and betrayal that grew between friends, colleagues and even family. The Aequitas Theatre Company’s version is an insight into what might happen if society succumbs to its oppressors, but emphasising the importance of resistance. Brecht’s drama is brave and gritty and although there is no doubt that his message is relevant today, the fussy details and the gentility of the acting make this production thought-provoking but lacking impact as a piece of drama.

After an original start, leaving the audience off-balance, the production struggles to maintain the tension. There are quality performances from Clark Alexander – in particular in Scene 3 – and Faye Maughan, both of whom convincingly shape a diversity of characters, and accomplished moments such as Hugo Trebel’s fluid staging in ‘The Chalk Cross’, and Rhiannon Sommers’ Scene 9 monologue. However, of the 11 chosen playlets, the few which stick in the mind are the longer ones as these allow the audience time to engage with the script, rather than the muted staging. The shorter scenes need more theatrical variety beyond the change of accents by some of the cast, to mark their own moment.

A simple, functional set designed by Afke Laarakker twists and turns like a thread through the play and the actors transform their everyday clothes with minimal accessories. Initially, the lighting (Chuma Emembolu) invites the audience into a dim underground environment, but misses opportunities to enhance subsequent scenes. Apart from the effectual and interesting use of radio coverage and a handful of effects, the uniformity of the sound and music (score by Clifford Hughes) is lulling rather than troubling. By adding a more challenging individuality to each vignette, the scenes would weave together rather than melt into each other.

Despite the contemporary details on and off stage, this remains a play about Nazi Germany with some far-from subtle references to current affairs. As such it is a bold idea expressed through a production that feels strangely unfinished.

 

Reviewed by Joanna Hetherington 

Photography by James Wordsworth

 


Fear and Misery of the Third Reich

Jack Studio Theatre until 3rd February

 

 

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