“combines some excellent dramatic performances with some interesting physical theatre”
Written by Piers Beckley and directed by Ray Shell, this was a brave attempt to retell the story of Gilgamesh, the Sumerian demigod of superhuman strength who built the citadel of Uruk to defend his people. The original story is found in the Epic of Gilgamesh, a poem which is cited as the first great work of western literature and is thought to have been written between 2150 and 1400 BC.
This production combined some excellent dramatic performances with some interesting physical theatre. However these were joined by some points of a less impressive nature. The character of Enkidu, the wild man sent to humble Gilgamesh, stood out as one of the better elements. Played by Toby Wynn-Davies his convincing performance gave weight to the production as a whole. This, together with a solid performance by Luke Trebilcock as Gilgamesh, provided the show with two strong central characters.
The sex scene between Shamat, played by the Countess Alex Zapak, and Enkidu was somewhat spoilt by unnecessary post-coital singing. In contrast, Enkidu’s rejection by the natural world after he had become ‘civilised’ was both thought provoking and performed with true feeling. The developing relationship between Gilgamesh and Enkidu is also sympathetically and subtly portrayed as is Gilgamesh’s grief when Enkidu dies.
Some of the aspects of physical theatre were well executed. Scenes which stood out were the forest with its clever sound effects, the use of twigs in the portrayal of scorpions and the ark during the flood scene. Occasional live music added atmosphere and more texture to the piece.
This quest for eternal life portrayed most elements of a true saga – the perilous journey, fighting the mythical beast and the crossing of the uncrossable river but the message we were left with at the end was unclear. Gilgamesh did not return to Uruk triumphant, so was the message that eternal life is, after all, unattainable? Was it that knowledge is the source of evil and unhappiness and turns us against nature, or was the message finally that the love between two men is a powerful force?
“some moments are delicate, others are clunky and too heavily reliant on exposition.”
The details of a toxic relationship, before and after, are explored in The Box, the debut play from writer Chris Szuca. Playing between now and the 7th at the White Bear Theatre, this is an attempt to deconstruct a relationship with the benefit of hindsight.
This a play with potential. Unfortunately this production fails to capitalise on its key strengths, leaving its many weaknesses exposed. While the script is detailed, it lacks subtlety and nuance. While some moments are delicate, such as Young Robyn’s speech to her baby daughter, others are clunky and too heavily reliant on exposition. There is a lack of depth to the dialogue, reducing what could be gritty realism into a superficial melodrama with a climax which feels forced and lacks impact.
Performance wise, there is a lack of intimacy on the stage between both couples which robs all the relationships of any true emotional connection. The direction does not help them – the positioning seems mechanical and unfocused, and there is far too much pointless faffing with props and costumes which pulls focus. Of the cast, the younger couple fare better. Emma Stirling manages to find strokes of determination and fragility in the awkwardness of the spacing, making her Robyn sympathetic. Dan Burman does his best to make the younger Andrew multi-faceted, playing vulnerability over threat, but is hindered by some clumsy dialogue. As the older couple, Pat Garrett and Will Anderson struggle to work off each other. Garrett delivers her lines clearly and earnestly, but with little variety and she is left to wander aimlessly too often. Anderson in turn, plumbs the depths of Andrew’s despair but feels sidelined. The power of their confrontation is lost in the polite distance and introspection that each seems stuck in.
Overall this feels like a premature staging. Both script and performance still need polish. However, there is potential here. It’s a brave endeavour to produce a debut play and you hope that this is just a stepping stone performance, that both cast and crew can build on.
