“a richly poignant and artistically cinematographic production”
In a richly poignant and artistically cinematographic production, Arrows and Traps Theatre Company presents the sad, courageous story of Sophie Scholl and her brother Hans who, with like-minded friends, formed the pacifist, anti-Nazi group, The White Rose. Together they wrote propaganda leaflets against Hitler and his regime and secretly distributed them all over Germany. In the company’s first original play, Ross McGregor, as writer and director, uses diaries, court and interrogation documents and first-hand accounts to bring to light the strength and sacrifice made by these young people. It is comforting that, although their bravery is little known in Britain, the members of the group are national heroes in Germany.
Projections of Hitler’s brutally powerful speeches introduce both halves of the play, setting a tone of oppression. We switch from Sophie’s cross-examination to the group meetings and more personal friendships but with the prominent shadow of the Gestapo cleverly present almost throughout. Lucy Ioannou, as Sophie, steps in and out of these two worlds with ease, from spirited student to shocked detainee, becoming cornered by imposing Gestapo officer Robert Mohr (Christopher Tester). Excellent performances all round create a feeling of the life which both stimulates and contrasts their fight. Fittingly similar in appearance to their subjects they each bring a well-drawn character to the group.
The filmic effect runs through the work. The red of Sophie’s cardigan against an otherwise sombre background echoes the 2005 film ‘Sophie Scholl. The Final Days’; interspersed scenes of the past and passages of abstract movement paint a broader picture of their lives. The set by Odin Corie combines a traditional, central table and period props, with gauze side-screens, effectively used for off-stage action. Ben Jacobs’ lighting is stunningly dramatic. It conjures up the atmosphere of the many scenes and marks the changes, perfectly coordinated with Alistair Lax’s sound. There is a practically non-stop selection of atmospheric music and effects yet the significance of the words could be enhanced with less. And although there are some very imaginative movement sequences, certain gas-masked Gestapo routines undermine the tone of the play.
‘The White Rose’ is an eye-catching production with an important message of remembrance. Careful, thoughtful direction builds the intensity but rather than peaking at one climactic point it holds its breath while we hear their last moments and imagine what their lives could have been, absorbing it through the drama and taking it away with us.
“It isn’t easy to produce a well loved story without either offending it’s fans or sliding into a boring retelling, and this play avoids both”
Some things in life are a given. There aren’t many I grant you, but one of them is that if it involves Mary Shelley I will be there! Frankenstein is one of my favourite books, first read in my mid-teens from a very Gothic looking, battered leather bound edition from nineteen twenty something bought for pennies at a jumble sale. This says so much about the teenager I was and the literary road it placed me on.
Strangely enough years later I made a friend who had pretty much the same experience in her younger years and together as adults we have probably seen and discussed this one story more than can ever be considered normal! So no prizes for guessing that I did NOT attend this production of Frankenstein alone! I wouldn’t have dreamed of it!
So together, we two Mary Shelley groupies, entered the intimate room that is Brockley Jack Theatre and sat pretty much ON the stage, torn between anticipation and fear of disappointment. The smoke machine built up a silent eerie mist and the lights flickered and dimmed slowly…
The play tells us three tales simultaneously: From the very beginning of the story, the fictional epic that is of creator building upon the idea of forming life. From the middle of the novel, the created and abandoned creature hunting for meaning and acceptance and also the biographical story of Mary Shelley herself.
The symbiotic relationship of Victor Frankenstein (Christopher Tester) and the Creature (Will Pinchin) is acted beautifully, with the young experimenter’s foray into early scientific discovery delivering a clear, slow slide into obsession, whilst his naive, maligned and confused creation grows in intelligence, despair, loneliness and anger.
Shelley’s suggestions that it’s the losses in Frankenstein’s life that drive his need to control death are evident throughout the script, and Ross McGregor has adapted the novel onto the stage amazingly well. It remains true to the original, explores what is known of the author’s life, and manages to scatter a good dose of observational laughs throughout.
Although the fiction aspect of the play runs scenes from both the first half of the story and the second half alongside each other (sometimes via alternating scenes and sometimes with both stories on stage at the same time), the story progression remains clear, if not chronological, and engages the audience in rethinking the play rather than just observing it.
The third narrative woven through this criss-crossing platform is that of the novelist herself. Her story is also told across two eras; following her life as it is drawing to it’s end and intermittently as she meets Percy Shelley for the first time and embarks on her life with him.
Cornelia Baumann is wonderful in her portrayal of all aspects of a life full of challenges and tragedies without confusing the audience as to which particular aspect of Mary Shelley’s life is unfolding on stage. I like the way this play draws on the parallels between her and her characters. It makes you wonder if, a hundred years before psychoanalysis began, this woman wrote out her own self analysis deliberately or unintentionally, and whether it helped her in any way to cope.
The rest of the talented cast (Oliver Brassell, Zoe Dales, Victoria Llewellyn, Phillip Ridout and Beatrice Vincent) each take on multiple roles that are essential to the story. Making every character different with minimal, but very Steampunk inspired, costume changes. Added to that, a beautifully designed yet simple set (Maisey Corie) and atmospheric lighting (Guy Lewis) and you have a visual treat.
It isn’t easy to produce a well loved story without either offending it’s fans or sliding into a boring retelling, and this play avoids both. Arrows & Traps Theatre Company didn’t disappoint.
I’ll leave you with my equally fanatical Shelley buddy’s verdict: ‘It will stay in my mind for a long time’
Reviewed by Joanna Hinson
Photography by Davor Tovarlaza
FRANKENSTEIN
is at Brockley Jack Studio Theatre until 21st October
