“musically beautiful, but disappointing in its hollowness”
Everyone knows Anna Karenina, even if few people have read it. The grand setting of Imperial Russia and provocative story of a woman torn between desire and obligation – and Tolstoy’s exquisite prose, for those who pick up the book after watching the film – have kept Anna Karenina at the forefront of the Western literary canon for over a hundred years, and made it the subject of countless adaptations, including more than one stage show. A new musical out of Oxford University by Maria Shepard is the latest addition, and one that is musically beautiful, but disappointing in its hollowness.
Curiously, no writer is credited for this adaptation, which might be why its biggest fault is its script. Rushing from scene to scene as if it has a train to catch, the text gives the audience just enough time to understand what is happening, but not why it matters. Anna falls in love in a matter of seconds, her affair is found out just as quickly, and the whole thing resolves before you can say ‘Nikolaevich’. There is no sense of budding romance, or of building shame; there is conflict, but it is confined to a schedule.
No doubt the rushed pace of the action is due to Shepard’s efforts to tell the story from start to finish; she might have done well to look at other recent adaptations of Russian classics, like Oliver Bennett and Vladimir Shcherban’s A Hero of Our Time, Dave Malloy’s Natasha, Pierre & The Great Comet of 1812; and Pyotr Fomenko’s War and Peace – The Beginning of the Novel, all of which wisely adapt only fragments of their source texts, and, in doing so, are able to fully explore the richness of the characters and their world.
There is plenty of richness to be found in this new musical, however; it just isn’t in the text. Shepard’s score is lush and expressive; intimate at times, and grand at others, it speaks louder and clearer than the book or lyrics, and displays the impressive talent of its composter. Whilst watching the show I found my attention constantly drifting over to the orchestra, because there, I felt, was where the action was.
I would be remiss also not to mention the commendable performances of the young cast, who overcame the constraints of working in such an unusual venue as St. Paul’s Church, Covent Garden and some technical difficulties. Standouts are Imogen Honey Strachan in the title role, who sings like a canary, and Jacob Griffiths as an understated but deeply charismatic Levin.
“the rip-roaring finale in the church brought the audience to its feet in an explosion of cheers and applause”
This is Iris Theatre’s 10th season in the gardens of St. Paul’s Church in Covent Garden. They produce two shows over the course of the summer – a Shakespeare and a family show – and this year’s swashbuckling adventure from 17th century France is a perfect confection for a family night out in London on a summer’s evening. The action takes place in three different playing arenas in the gardens themselves, and also moves into the church. Although moving between locations couldn’t help but slow things down a bit, the delight of the different mise-en-scènes more than made up for it, and the rip-roaring finale in the church brought the audience to its feet in an explosion of cheers and applause.
Dumas’ original novel is a behemoth of a book, and credit must go to Daniel Winder, Iris Theatre’s Artistic Director, for distilling it into a largely comprehensible two hour play. The younger children in the audience would certainly have found elements of the story confusing, in particular differentiating between the the national conflict – England vs France – and the French religious conflict – Catholic vs Huguenot – but the pursuit of the Queen’s diamonds was a good thread for them to follow, with excellent visual cues to help them through the more labyrinthine plot developments. Paul-Ryan Carberry’s sure-handed direction steered a steady course throughout, using elements of slapstick and pantomime with a deft touch to balance the darker themes and more baroque plot twists. In addition, Winder’s decision to turn d’Artagnan into a woman worked brilliantly, and the young female musketeer was a fantastic counterpoint to the magnificently malevolent Milady, played with immense hauteur and brio by Ailsa Joy.
Working in the open air in the middle of Central London is immensely challenging for an actor, and the predominantly young cast attacked the task with relish, and they were aided too by Adam Welsh’s excellent sound design. Inevitably, many of the performances were painted with pretty broad strokes – open air theatre is rarely the place to go for subtlety and nuance – but there was a terrific ensemble spirit, and some excellent multi-role work too, particularly from the charismatic Stephan Boyce (Planchet/Treville/Rochefort/Lord Winter) and the splendidly entertaining Elliot Liburd (Porthos/King of France).
Finally, special mention must go to Roger Bartlett, the production’s fight director. No evening spent in the company of the musketeers would be complete without some serious sword play, and Iris Theatre did not disappoint in this regard. There is something rather wonderful about hearing the church clock striking and seeing the garden’s white roses glowing in the dusk, whilst watching a mighty clash of swords, and knowing that 21st century London nightlife continues all around. A unique treat; there to be savoured.
