Drowned or Saved?

Tristan Bates Theatre

Reviewed – 8th November 2018

★★★★

“a moving and powerful theatrical experience”

Primo Levi, who died in 1987, was an Italian-Jewish Holocaust survivor and the author of a number of respected works including an account of the year he spent as a prisoner at Auschwitz concentration camp. Drowned or Saved? is a new play written and directed by Geoffrey Williams that not only pays homage to Levi’s message of humanity, compassion and perseverance but also forces the audience to never forget the systematic murder of six million Jews. Whilst it is difficult to conceptualise that number of people, it is easier to understand one person’s story and in essence, this is what the play focuses on.

The audience is greeted by Levi in his sparsely furnished study. There are some books and a Menorah, a symbol of Judaism since ancient times. He is restless and unable to sleep. He struggles to get closer to a character in a story he cannot complete, so he delves into his haunting memories of Auschwitz and recalls characters he met.

Marco Gambino is perfectly cast as Primo Levi. He commands the stage and wonderfully conveys the tormented soul Primo has become. Equally talented, Paula Cassina plays his loving wife Lucia and also their housekeeper Mrs Giordanino as well as Vanda, a close friend of Primo’s who died alongside him on the train to Auschwitz. Alex Marchi takes on six very different character roles and is able to successfully switch between them, often in the same scene. The final cast member is Eve Niker who has the difficult task of conveying, with no words, the disintegration of an inmate in those terrible conditions. Primo knows her only as Null Achtzehn (translated to 018) due to him recognising part of her camp serial number.

Designer Baśka Wesołowska has created a simple but effective set with wooden slatted walls which adapt with the play’s timeline, from a study to a train wagon and finally to the camp. Rachael Murray’s sound design flows well and the lighting (Matt Leventhall) helps create a smooth transition backwards and forwards in time.

Amongst the outstanding storytelling, there are some moments that don’t quite work. Those not able to understand German and Italian, as well as Jewish tradition, may at times feel slightly isolated from the content. Equally the ending, whilst incredibly emotional, left the story slightly unfinished and I felt more could have been told about Levi. However, the writing and direction from Geoffrey Williams is commendable. Whilst the piece will appeal to a wider audience, it is certainly unmissable for those with an interest in the Holocaust, history or indeed with a Jewish background.

Drowned or Saved? clearly it isn’t a light hearted piece. It is however a moving and powerful theatrical experience covering a horrific, yet important, part of modern history that should never be forgotten.

Reviewed by Steve Sparrow

Photography by Ewa Ferdynus

Drowned or Saved?

Tristan Bates Theatre until 24th November

Previously reviewed at this venue:

Love Me Now | ★★★★ | March 2018

An Abundance of Tims | ★★★½ | April 2018

Lucid | ★★★★ | April 2018

Meiwes / Brandes | ★★★ | April 2018

The Gulf | ★★★ | April 2018

San Domino | ★★ | June 2018

The Cloakroom Attendant | ★★★ | July 2018

Echoes | ★★★★★ | August 2018

Love Lab | ★★★★ | August 2018

Butterfly Lovers | ★★ | September 2018

The Problem With Fletcher Mott | ★★★★ | September 2018

Sundowning | ★★★★ | October 2018

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

Trial by Laughter

Watermill Theatre

Reviewed – 24th September 2018

★★★★

“Joseph Prowen takes the lead with committed intensity”

If ever there were a time to champion free speech and the right of the press to hold the powerful up to mockery, then this is it. Ian Hislop and Nick Newman’s ‘Trial by Laughter’ tells the story of bookseller and satirist William Hone’s epic battle against government censorship in 1817. Hone faced not one but three trials for both libel and blasphemy.

This is personal for Ian Hislop, who as editor of Private Eye is purportedly the most sued man in English legal history. The two playwrights’ new work is strong on history and courtroom drama. It’s also something of a ‘ripping yarn’– a fast-paced funny story about how Hone used ridicule to get himself out of legal hot water.

Joseph Prowen takes the lead with committed intensity. He’s well-matched by Peter Losasso as the celebrated caricaturist George Cruikshank, who created nearly 10,000 vicious satires and illustrations during his long career. Both bring youth and likeability to their roles, Prowen most so when he is driven to nervous exhaustion at the end of three successive trials in three days.

Nicholas Murchie delivers a hilarious parody of legal pomposity as Justice Abbott and like several other members of the cast of eight, doubles several other roles including the ‘grand ole’ Duke of York. Dan Tetsell (previously seen in Hislop and Newman’s ‘Wipers Times’) has splenetic menace as Hone’s other judge, Lord Ellenborough, whose unsuccessful attempts to direct the jury were followed by his death soon after.

Helena Antoniou, Eva Scott and Jeremy Lloyd make up a trio of what looks like Blackadder-inspired comedic clowning in their scenes as the Prince Regent and his favourites. Eva Scott has an important ‘straight’ role, too, as Hone’s wife Sarah.

An ingenious set by Dora Schweitzer makes the most of the Watermill’s intimate stage, switching from Regency courtroom to palace in a matter of seconds by using some clever projections and multi-level cupboards, doorways and windows. As Hone wins the mob over with his wit and mockery, simple but effective sound design from Steve Mayo incorporates the audience into the action.

There are some pleasing period musical interludes by Tom Attwood throughout the show. One or two seemed just a little uncertain on the opening night of this packed production. The play ends with a slightly laboured scene pointing up Hone’s place in history.

This is a cracking play, both historically-rooted and completely topical, and well worth a trip to Newbury.

Tristan Bates Theatre

Reviewed – 8th November 2018

★★★★

“a moving and powerful theatrical experience”

Drowned or Saved? clearly it isn’t a light hearted piece. It is however a moving and powerful theatrical experience covering a horrific, yet important, part of modern history that should never be forgotten.

Reviewed by Steve Sparrow

Photography by Ewa Ferdynus

Drowned or Saved?

Tristan Bates Theatre until 24th November

Previously reviewed at this venue:

Trial by Laughter

Watermill Theatre

Reviewed – 24th September 2018

★★★★

“Joseph Prowen takes the lead with committed intensity”

Helena Antoniou, Eva Scott and Jeremy Lloyd make up a trio of what looks like Blackadder-inspired comedic clowning in their scenes as the Prince Regent and his favourites. Eva Scott has an important ‘straight’ role, too, as Hone’s wife Sarah.

There are some pleasing period musical interludes by Tom Attwood throughout the show. One or two seemed just a little uncertain on the opening night of this packed production. The play ends with a slightly laboured scene pointing up Hone’s place in history.

This is a cracking play, both historically-rooted and completely topical, and well worth a trip to Newbury.

Reviewed by David Woodward

Photography by Philip Tull

Trial by Laughter

Watermill Theatre until 27th October then touring

Previously reviewed at the Watermill

Teddy | ★★★★★ | January 2018

The Rivals | ★★★★★ | March 2018

Burke & Hare | ★★★★ | April 2018

A Midsummer Night’s Dream | ★★★★ | May 2018

Jerusalem | ★★★★★ | June 2018