ALL ABOUT MY MOTHER
The
Old Vic, London SE1
Opened 4 September, 2007
****
There are lamentably few adaptations that turn a fine piece of work in
one medium into an equally fine piece in another whilst remaining
faithful in both spirit and substance to the original rather than
re-making it in a new image. John Huston's film of Joyce's The Dead springs to mind, and
Leonard Cohen's musical settings of poems by Lorca and Cavafy. Samuel
Adamson's stage version of Pedro Almodóvar's 1999 film Todo sobre mi madre joins this
exalted group. Adamson takes not just the skeleton but the entire
musculature of Almodovar's screenplay, making individual moments
slightly more explicit or marginally more intense when the intimate,
penetrating gaze of the camera needs to be translated into a theatrical
environment. This is precision craftsmanship.
More to the point, it continues to work beautifully as a collective
portrait of a group of women (two of whom, this being Almodóvar,
happen to have penises) brought together by the death of the narrator,
17-year-old Esteban. His mother Manuela subsequently returns to
Barcelona and her transvestite prostitute friend Agrado, through whom
she meets young nun Sister Rosa, who turns out to be carrying both the
child and the HIV of Manuela's vanished "shemale" husband Lola. Manuela
obtains a job as personal assistant to Esteban's acting idol Huma Rojo,
but is regarded with jealousy by Huma's junkie girlfriend Nina. Rosa'a
patrician art-forger mother looks in periodically. This is a world
without men as such: the principal unambiguously male adult figure is
largely fictional, being Stanley Kowalski in the staged scenes from A Streetcar Named Desire in which
Huma plays Blanche Dubois. Tennessee Williams and Lorca echo through
the tale, with those common preoccupations of trying to be
authentically oneself, and happily so, in a world which makes no
concessions.
Tom Cairns' direction is by and large admirably unfussy. I was
uncertain about the periodic use of miked-up, front-curtain speeches by
Agrado and the departed Esteban, but in the latter case the boy does
need to be maintained as a presence, so some analogue of film voiceover
is necessary. In the case of Agrado, similar reservations about the
Welsh-accented camp of Mark Gatiss's performance are dismissed by his
final announcement to the audience whose contrast "buys" all that has
preceded it. (Gatiss does, however, need to learn how to put on a pair
of tights so that they don't twist around his legs.) Hildegarde
Bechtler's set design does little to aid Adamson in addressing the
problem of numerous shorter screen-like scenes, so we endure frequent
blackouts and curtains; against that, the design is both inventive and
so detailed that it even reproduces the disgusting op-art wallpaper
pattern from Manuela's flat in the film.
Colin Morgan as Esteban continues to build on the promise he showed
down the road at the Young Vic in the title role of Vernon God Little earlier this
year. His mother Manuela is played by Lesley Manville, one of the most
reliable pairs of hands on our stage, who deserves more than such
faint-sounding praise. It is time she became a name beyond circles of
theatre cognoscenti. Here, she more than holds her own even in the
daunting company of Diana Rigg and Eleanor Bron. As Rosa's mother, Bron
serves mostly to add poise and cachet; as Huma, Rigg enjoys both
playing up and subverting the characteristics of diva-dom. On press
night, she appeared surprised and amused that the stage crew had taken
to heart Huma's instruction in the play to wring out more curtain
calls; mandatorily enthused first-night crowd notwithstanding, I cannot
remember when last I saw so many curtain calls in a domestic
production, nor (pace Huma)
were we really being all that artificially milked.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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