BASH
Trafalgar Studio 2, London SW1
Opened 10 January, 2007
***
Neil LaBute and the Mormon church parted company a little while ago. It
might surprise many viewers of Bash
that, when he wrote these three short monologic pieces in 1999, he was
still a member. He may have been using the pieties most familiar to him
as an emblem for humanity's general tendencies to brutality and
self-justification; Rob Howell's design suggests as much, with a huge
mirror at the back of the stage reflecting our responses as an audience
back to us. Nevertheless, the trilogy feels like the work of an
apostate making specific, embittered indictments. It does not help that
he has subtitled the work Latterday
Plays, thus drawing attention both to the updates of Greek myths
which occur in them and to the LDS culture of their protagonists.
In Iphigenia In Orem (a
suburb of Salt Lake City), a nervous young businessman assists his
daughter's cot death in the hope that it will prevent his employers
from making him redundant. In Medea
Redux a young woman, seduced and impregnated by her teacher when
underage, arranges a first meeting of father and son then murders the
boy. These two monologues bookend A
Gaggle Of Saints, in which a chaste young couple's separate
accounts of attending a (church-related?) party in New York are
intercut, with Sue entirely ignorant that while she slept, her beloved
John beat a gay man to death in Central Park.
All the by now familiar LaBute notes are struck: the facility for
writing contemporary American speech (like David Mamet only in proper
sentences), the inability to resist pointing out every so often just
how thoughtful and many-layered he is being,, and above all the utter
despair of someone who has said that he first decided to become a
writer on encountering the notorious baby-stoning scene in Edward
Bond's Saved. Tamara Harvey's
production for new company Theatre of Memory is for the most part as
spare as LaBute's prose, though it doesn't need even the few elements
of high-concept she introduces. Embarrassingly for company founders
Juliet Rylance and David Sturzaker, their solos are eclipsed by the
duet of younger actors Harry Lloyd and Jodie Whittaker. Once again,
though, the tin ear of British actors for American accents is well in
evidence: three of the four pronounce intrusive Rs (Whittaker's Sue
apparently wore a gown of taffeter),whereas Rylance's modern Medea was
seduced while watching a hammerhead shark at something she calls a
Maradigm Center.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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