WOMEN OF
TROY
Lyttelton
Theatre, London SE1
Opened 28 November, 2007
***
Director Katie Mitchell's recent productions at the National Theatre
have taken oblique or fractured texts – Strindberg's A Dream Play, Virginia Woolf's The Waves, Martin Crimp's Attempts On Her Life – and
heightened the obliqueness and fragmentation with every device at her
disposal. In contrast, this is a return to what might be considered
"classic" Mitchell: stark, ascetic, remorselessly maintaining a single
dominant tone... and dimly lit. I know I have mentioned this trait in
previous reviews, but on this occasion I was often unable to identify
who was uttering a line, or who was left alone onstage in the final
seconds of this 80-minute version. Hell is murky, but not every
analogue of it need be.
This is, in fact, very much the world of her 2004 production in the
same space, Iphigenia At Aulis:
a location which is an antechamber off the real action (in this case,
an embarkation warehouse where the female Trojan prisoners await
shipping off with the victorious Greeks), a group of women in slightly
antique formal wear, and periodic choric dances to big-band numbers
coming out of a tinny radio speaker. I'm fairly sure that the intention
here is towards the grotesque, a sense of the life interrupted by this
overthrow, but I'm afraid it goes beyond and into the absurd.
Furthermore, the maddened virgin prophetess Cassandra's reaction to the
news that she is to be taken as a concubine by Agamemnon is to satirise
the union by inciting the chorus to a rendition of "Close To You".
After 2400 years, this may still be the most scathing dramatic
indictment of war ever written, but it was not co-written by Euripides
and Burt Bacharach.
In all fairness, Mitchell has few peers in the matter of portraying
sustained, almost superhuman levels of suffering. Here, Trojan queen
Hecuba (a strong performance by Mitchell stalwart Kate Duchêne),
her daughters and townswomen have scarcely the spirit or energy for
outright grief or terror. Their words sometimes serve as mere
counterpoints to Gareth Fry's remarkable sound design of infernal
rumbles offstage as the last of the city is laid waste. It is an
immensely powerful mood, aided by a script which seems likewise almost
entirely devoid of affect (although the programme credits this as being
"from" rather than "in" Don Taylor's version, suggesting that Mitchell
and co. may have altered his text as they did Caryl Churchill's version
of A Dream Play).
But she will keep sabotaging it. It seems contradictory to write on the
one hand that this bleak register is sustained non-stop, and on the
other that it is periodically interrupted, but that is the paradox of
such a staging. I do not believe that the disjunctions are intentional:
for instance, the slow backwards procession across the stage of (I
think) Anastasia Hille's Andromache, somehow mourning her murdered
infant son some time after we are told she has already sailed for
Greece, is doubtless meant to be sombre rather than bewildering. Most
tellingly, I do not believe that the portrayal of Cassandra has been
deliberately torpedoed by casting Sinead Matthews, that slight figure
whose voice is at once shrill and rasping and manages to suggest that
the blessed/accursed seeress is merely threatening to thcweam and
thcweam until she's thick. In the director's claustrophobic 1991 Gate
Theatre production of the same work, Cassandra was played by Kathryn
Hunter; there is simply no comparison. This production uses the
extremity of exhaustion to, at times, even greater effect than the
passionate defiance in the earlier outing. If only Mitchell, having
found and distilled such power, could leave well enough alone.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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