If you are looking for an intimate theatre venue, The Space, nestled in the heart of the Docklands is really quite something. The converted church provided the perfect backdrop for a gritty and moving tale between two of society’s marginalised characters.
Award-winning Chilean playwright Juan Radrigán’s “Mad Man Sad Woman” has been beautifully translated by Catherine Boyle and portrays the struggles faced by a crippled prostitute and a dying drunk (Sadie Shimmin and Bil Stuart).
In an abandoned building we see their relationship develop from hostility and blame to acceptance and courage, understanding where and how beauty can be found in the littlest things in life.
Having no interval enables you to fully immerse yourself in their story and almost invites you to participate in their space, in ‘The Space’, as they enter and exit through the audience.
This is a bold new production, and the venue and direction (Sue Dunderdale) work together wonderfully. Your attention is demanded throughout for characters that may be unfamiliar, and also that challenge notions of society and the outlook we may have on our own lives.
“Marianne Hyatt’s Prospero is engaging and draws the audience into the scenes”
The Rose was originally built in 1587 and where Shakespeare learnt his craft. The Playhouse was rebuilt on the original site after remains were discovered in 1989 during an archaeological dig. This small, intimate and quirky theatre makes a fitting venue for The Tempest.
Adapted by Sue Frumin for an all female cast she has made some interesting changes and character developments to the original play.
Prospero played by Marianne Hyatt, becoming a mother figure to Miranda played by Lakshmi Khabrabi, showed a very different relationship to other more traditional interpretations of the play. This relationship worked exceptionally well.
Marianne Hyatt was the most engaging performer and drew the audience into the scenes. She was incredibly articulate in her role of Prospero both in her monologues and in song.
The initial shipwreck scene utilised the wider space very effectively but it was a pity that this wasn’t used more throughout the play.
Lots of the relationships between characters were overtly sexual. Although this was a unique twist which gave a different dimension to the play it took away some of the power of Miranda and Ferdinand’s relationship.
The background music throughout the play was used very effectively. The light projection may have been more effective from another seat but we were unable to see it properly from our seats.
Chatting behind the scenes needs to be kept to a minimum as this occasionally disrupted the performance but this could be due to the fact that we saw it on the first evening.
An interesting new take on Shakespeare but needing more development and focus.
Reviewed by Angela East
Production Images by Ray Malone
This show was reviewed at the first preview performance by prior agreement with the Rose Playhouse Theatre
