Nikolai Gogol’s satire Dead Souls, in which a civil servant attempts to get rich quick by buying up the rights to recently deceased serfs in order to appear wealthy, has been adapted by Monkhead Theatre which aims to bring ‘the wild rock and roll playfulness of experimental multimedia theatre’ to the Russian classic.
And they have done so successfully. ‘The Machine’, a microphone dangling above a vibrating cymbal which sits centre stage, provides a low-pitch hum throughout the drama to symbolise the ‘impalpable sound’ of the dead serfs who haunt the background of the characters petty, unfeeling, bureaucratic arguments. Video projection is also used, filming the actors as they perform in the pub downstairs. If you enjoy the humour of unaware audience participation, you’ll enjoy these sections. If, like me, you find it a bit cringy, then it can feel laboured. That is not the fault of the acting however: Joshua Jacob (Chichikov and The Minister), Jules Armana (The Prosecutor, Sobkievitch and Plyushkin) and Toby Osmond (Manilov and Nozdryov) are all superb.
Chloe Myerson’s adaptation condenses Gogol’s circuitous novel into a taut hour and thirty minutes. Such a streamlining necessarily means that some of the author’s themes are given more prominence: in this, it is the theme of class. Chichikov is marked by his lower social status and it is here that the costuming comes into its own. Just the shoes of the characters are able to denote their ranking: Chichikov’s are a bashed about pair of slip-ons, whereas the wealthy landowner Nozdryov’s are a shining black leather.
Fortunately, something that is not lost in the adaption is Gogol’s wry humour. It is particularly apparent in Toby Osmond’s brilliant dual portrayals of the gauche Manilov and the boorish Nozdryov, and also in the sardonic descriptions that appear on the projection.
All in all, a very interesting production. If things get a little over-heated at the end (and it was very warm in the small space), that does not dampen the sharpness of this drama.
“David Hywel Baynes excels in his role of Macbeth”
Celebrating their 10th anniversary the Iris Theatre Company use the grounds of the 17th century St Paul’s Church to bring to life their dark and grisly production of Shakespeare’s Macbeth. An immersive promenade theatre that winds its way through the stunning grounds and buildings, drawing you in to one of his most famous tragedies.
Although the play begins in daylight, which feels wrong for such a macabre story, the set designer Alice Channon uses interesting props to enhance the natural setting and increase the sense of despair and destruction. As the light fades the effective use of lighting and smoke adds drama and an eerie spookiness to the stage. The actors themselves lead you from scene to scene, which at times was a little chaotic but added to the overall tension of the play. As with all outdoor theatre you need to be able to zone out a little to the odd passing aircraft, birds and music drifting over from nearby venues which at times may interject at an in opportune moment.
I was slightly concerned when during the opening scenes the witches appeared as part insect, part other world creatures. I wasn’t sure why they had chosen to go down this route and was probably the only negative of the whole performance. However, the strength of the acting from the opening scenes takes over and you end up accepting their roles in this form.
David Hywel Baynes excels in his role of Macbeth. His projection in a vast open space is second to none. His unraveling into a guilt-ridden madness is incredibly believable and you cannot help but feel his pain. Mogali Masuku takes on many roles during the show but it is in her role of Lady Macbeth that stands out particularly with her convincing demise into madness.
With a cast of just seven the roles are very well played and clever costume changes means that you don’t become confused. The acting is all of a very high quality and the oration throughout is excellent. The play by its nature is gruesome in parts and there were times during the play that I jumped or left my seat much to the amusement of the school party in the audience.
I sometimes think the end of a play is a bit of an anti climax but for me the rousing song as the characters leave the stage was a particularly fitting closing.
The team from the Iris theatre certainly deserved the standing ovation they received at the end of this performance.
Reviewed by Angela East
Production Images by Hannah Barton
MACBETH
is at St Paul’s Church, Covent Garden until 29th July
