Dances Of DeathGate Theatre
Posted 11 June 2013 - 02:55 PM
Posted 12 June 2013 - 06:42 AM
Posted 13 June 2013 - 09:45 PM
Posted 20 June 2013 - 11:36 PM
I remember reading The Father and thinking Strindberg is someone in whose company I want to spend as little time as possible. I missed The Dance of Death over Christmas, so assumed that if it's a play worth reviving twice in six months I'm in the wrong. Hmm. It's an odd one, and I'm going to ask anyone who knows about Strindberg to tell me why I'm wrong about disliking him. To me, this play was a straight version of Vicious (I was going to say without the jokes, but, well...). There's a couple who don't get on, at all. They continue to not get on, at all. At the end of act one, they don't get on, at all. In this I'm sure there's something I'm missing, but I'm not alone in missing it because a pair just ahead of me started whispering and every time the couple re-emerged in act two to not get on, at all, they'd rock with suppressed laughter and I couldn't disagree. I'm not saying I have to feel friendly towards the characters to enjoy the play, or it can't deal with nastiness, but it came across to me as rather one note.
Now, this may be me being very wrong. In many ways it worked as a production, as I quite agreed with Kurt's statement that poison coarsed through the room to the extent that I almost didn't return in the interval as I did not want to spend more time with these abhorrent savage brutal people and their problem which was they're horribly cruel and assume everyone is. They didn't strike me as recognisably like human beings and instead seemed like cyphers for cruelty against cruelty, and that lack of realism stung. I wonder if that's fair or not, as good plays about boredom depict boredom whilst bad plays about boredom inspire boredom, so I don't know whether a play about people emitting a poisonous air should itself emit that air. There was a comment by the great Ingmar Bergman about how he only understood the mood and not the words, and so I think I might have just been unprepared for the onslaught of mood. I just really did not like the mood, and couldn't even say I admire the piece for its evocation of mood. It's not a bad piece of theatrecraft and all involved at the Gate ought to be pleased with themselves, it's just Strindberg and I clearly make bad bedfellows.
Posted 21 June 2013 - 10:30 AM
Posted 22 June 2013 - 01:19 PM
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