10 DAYS ON EARTH
The Pit, London EC2
Opened 19 April, 2007
*****
10 Days On Earth follows
Darrel, a middle-aged man with learning difficulties, in the period
immediately after his mother's death (possibly by suicide). It is
created and performed by one man. He is Ronnie Burkett, the former bad
boy of Canadian puppetry. The show lacks the formal experimentation of
some of Burkett's other recent work. It lasts 110 minutes without an
interval. Every one of those preceding sentences is likely to make the
heart sink (except the one about Canadian puppetry, which may instead
elicit an incredulous giggle). So why can I not imagine an evening
better spent in the theatre in London just now?
Partly it is the craft. There is the material craftsmanship: more than
three dozen marionettes, individually carved and dressed, and a "set"
which is a huge, broad pulpit with sliding panels and a roller-drum
cyclorama. And there is Burkett's mastery of marionette technique:
watch Lloyd, a street bum who thinks he is God, slowly and uncertainly
get back on his feet after collapsing in the gutter, or Darrel's
beloved storybook character Honeydog, a hound in a cranberry-coloured
coat, making "grass angels" in one of the fantasy scenes which
alternate with Darrel's ten days and flashbacks to his and his single
mother's earlier lives... these are wonders of manipulation. Partly it
is the purity of technique. Burkett's last show to visit Britain, Provenance in 2004, used a variety
of kinds of puppetry, some of which required him to become more overtly
an actor; here, everything is straightforward marionette work, yet I
felt no sense of restriction or retrenchment.
Partly it is Burkett's touch as a writer. He always tackles topics of
deepest human emotion – here, musing upon what it is to be alone and/or
to be lonely – but does it with a phenomenal blend of thought,
sensitivity and openness. In the past, I have felt some passages
overwritten: here, not one iota. No doubt many would find the Honeydog
scenes twee, their commentary upon Darrel's own life too obvious; that
would be those folk's loss. In Darrel's and Honeydog's preferred
expression, "simply simply" there is no current show that tells us more
about being human than do these assemblages of clay and string.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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