Joanna Hetherington Archives - Page 15 of 26

The Conductor

The Space

Reviewed – 28th March 2019

★★★★

“achieves a sensitivity and drama which fills the theatre and rouses our emotions”

In the besieged city of Leningrad in 1941, a conductor, against all odds, gathers together an orchestra of starving and weakened musicians to give a momentous performance of Shostakovich’s 7th Symphony. Even though he is said to have planned the work as a general comment on terror, slavery and oppression, its timing means that it is remembered as a force of psychological warfare against Nazi despotism by the battered spirits of a tyrannised society. In an elegant adaptation by Mark Wallington and Jared McNeill, based on Sarah Quigley’s novel, ‘The Conductor’ tells the story of the ‘Leningrad Symphony’ and how the devastating circumstances of World War II gave Karl Eliasberg the opportunity to rise from the shadows of mediocre musical standing and conduct the first performance there. With dramatic and evocative musical illustration, it shows the power of artistic expression fighting to overcome the surrounding atrocities. Who knows why these men in such dire physical state agreed to sacrifice their health and, in a few cases, lives for that concert? Possibly the extra rations offered to them but, more likely, to restore a sense of dignity in their souls and those of their fellow citizens.

Occupying half the stage, the composer sits at his grand piano, engrossed in composition as Eliasberg describes his own modest upbringing and aspirations and his admiration for Shostakovich’s genius. Joseph Skelton plays a conductor who wins our sympathy with his quiet, unassuming nature; describing himself as ‘cold’ and ‘good at keeping time’, he displays acceptance rather than bitterness. Deborah Wastell, with dexterous change of accent creates a handful of peripheral characters, adding detail to daily life – the mother who refuses to be evacuated, Shostakovich’s long-suffering wife, the dancer who befriends Eliasberg. And while we build an image of the hardships through Eliasberg and the people around him, Shostakovich appears detached from reality, absorbed in his own world. Daniel Wallington portrays this remoteness while evoking the moods of war, reminiscence and victory with his extraordinarily passionate piano playing.

‘The Conductor’ is a unique piece of theatre. It cleverly infuses the music into the narrative and completes the background picture with perceptive minor roles. Jared McNeill’s direction captures the contrast between the musicians and the trepidation in the atmosphere but as the action evolves (notably after the intense musical episodes) Eliasberg’s thoughtful pauses break the flow and the tension relaxes rather than heightens towards his ‘glory of fame and grief of loss’. While the piano is unable to recreate the textures and colours of a large orchestra, in this case it fits perfectly into context and Wallington achieves a sensitivity and drama which fills the theatre and rouses our emotions.

Reviewed by Joanna Hetherington

The Conductor

The Space until 13th April

Last ten shows reviewed at this venue:

Love is a Work In Progress | ★★★★ | October 2018

The Full Bronte | ★★★ | October 2018

Woman of the Year | ★★★ | October 2018

Little Women | ★★★½ | December 2018

The Dip | ★★★★ | February 2019

The South Afreakins | ★★★★★ | February 2019

FFS! Feminist Fable Series | ★★★★ | March 2019

We Know Now Snowmen Exist | ★★★ | March 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★★★

“excellent acting, purposeful direction and evocative visuals”

Spurred by the centenary of the Amritsar massacre, Phil Willmott sets this tragic tale of love, jealousy and vengeance in India during the British Raj, casting Othello as an Officer – one of the few Indian soldiers who made it through training at Sandhurst and back to a position of command in the British army. Within the rich tapestry of plot, characters and language Shakespeare epitomises the malevolent aspect of human nature, sparked by its undermining negative feelings of resentment, envy and insecurity. He also brings to light the subject of racism and in this production, we are reminded of the abhorrent attitude towards Indians in their own country. Inferior in rank and whose lower-class British background prevents any hope of promotion, Iago seethes with rancour and orchestrates those around him in an evil revenge; Othello, weakened by self-doubt, falls into the trap.

The scene is set with a tastefully oriental design and some strongly patriotic piano playing. But once the plot begins to unfurl, the background fades. Despite the resetting, it is the words which define the narrative and the dimensions and balance of the characters which bring context. Matthew Wade creates the impression of a young, earnest General, helplessly in love; he lacks the majestic quality of the original experienced warrior which makes his downfall by a malicious, conniving underdog so tragic. Rikki Lawton’s powerful rendering of a more identifiably modern Iago dominates the action and his psychopathic nature eclipses a personal hatred, making Othello simply another of his victims. With his significance diminished, this becomes Iago’s story.

Despite the imbalance we can enjoy the colonial flavour through the atmospheric set (Justin Williams and Jonny Rust), Zoe Burnham’s sublime, cinematographic lighting, detailed costumes, (Penn O’Gara) and solid, nuanced interpretations all round. In particular, Jerome Dowling’s Cassio wins our empathy as he is caught unawares in Iago’s net. As Desdemona, Carlotta De Gregori portrays the incomprehension and suffering of her husband’s turn of face with great sensitivity, but her initial coquettish behaviour towards him only hinders our perception of his standing. And a spirited Emilia (Claire Lloyd) adds plausibility to the era through her accent and demeanour, though fails to grow into the play’s increasing tension.

This modern take on ‘Othello’ has all the ingredients of success – some excellent acting, purposeful direction and evocative visuals – but as a consequence of the weight of importance between Iago and Othello on stage, it is in retrospect rather than a reaction to the drama that we feel the relevance of Willmott’s fresh approach.

Reviewed by Joanna Hetherington

Photography by Scott Rylander

The Space

Reviewed – 28th March 2019

★★★★

“achieves a sensitivity and drama which fills the theatre and rouses our emotions”

Reviewed by Joanna Hetherington

The Conductor

The Space until 13th April

Last ten shows reviewed at this venue:

Union Theatre

Reviewed – 20th March 2019

★★★★

“excellent acting, purposeful direction and evocative visuals”

Reviewed by Joanna Hetherington

Photography by Scott Rylander

Othello

Union Theatre until 6th April

Last ten shows reviewed at this venue: