I predicted last issue that the
kerfuffle over Nicholas Hytner’s remarks [about critics as dead white
males] would have died down by the time I got around to offering my
twopenn’orth, and I was right. But I don’t intend to let that
stop me. I thought the matter could more profitably be addressed
in the context of the apparent catalyst for his hissy fit, the
allegedly poor reviews given to
A
Matter Of Life And Death.
Shake
First let me have my say on the production itself. My responses
to it at the time were not so much complex as tangled, and I haven’t
really been able to tease them out in the interim. We are now,
belatedly, familiar enough with Kneehigh’s way with a story that it
comes neither as a surprise nor an exhilaration in itself to see them
take an extant tale by the scruff of the neck and give it a vigorous
shake. It’s the artistry of the shake, and what gets newly shaken
out, that matter. And there is a lot of artistry and a lot of
freshness in this production. There are also one or two moments
at which the company have taken their eye off the ping-pong ball… and,
to be fair, one or two moments at which reviewers have done likewise.
I have two admissions to make with regard to watching
A Matter Of Life And Death.
The first is that I found myself reflexively responding with a
knee-jerk conservatism: “This is different from the film, therefore it
must be bad.” At least I realised at the time that this was both
nonsensical and dangerous. The opening sequence – “This is the
universe; big, isn’t it?” – fails precisely because it is retained from
the film, without an effective stage analogue for the cosmic camerawork
which originally accompanied the initial voiceover. Conversely,
in the climactic courtroom scene, when I looked around and realised
that the Olivier broadly fitted the same amphitheatrical pattern which
was such a motif in the film, I enjoyed a moment of wonder all my own,
as the staging itself made no such allusion.
Inventiveness
Other touches prove dubious not because they differ from the film in
themselves, but because they so obviously pander to the exigencies of
the company. For instance, once you decide you’re going to use
aerialism, you naturally enrol Gísli Örn Garðarsson,
and since he can’t convincingly play a pre-Revolutionary French
aristocrat, you have to turn the character of Conductor 71 into
something commensurately wacky. I’m a great admirer of
Garðarsson’s, but when the story has to change to fit him, I can’t
help thinking that he may have delighted us enough for a little
while. Similarly with the invented character of Conductor 72,
worked up from a cameo in the film largely, as far as I can see,
because Kneehigh’s company director Mike Shepherd enjoys wearing absurd
costumes. (At least this one wasn’t drag.) I have no
problems whatever with Emma Rice and the company’s visual inventiveness
as applied here: not with the bicycling nurses, nor the swinging coital
bed, and the ping-pong game seemed to me a perfect moment of
Kneehighification of the original scene.
Having got over my initial reactionism to changes of tone or substance,
I came to greatly admire the way in which the “trial in heaven”
sequence was both psychologically and emotionally repositioned.
We always go on about the exuberance with which Kneehigh stage stories,
but we tend not to notice that the other side of this coin is a
fascination with the melancholy, the minor-key, the complications and
frustrations of those stories. Converting the propagandistic
Anglo-American love-in of the film into a far more complex meditation
on the exigencies of war is a masterstroke. One or two reviewers
object that the treatment seems to place a moral equivalence on the
bombings of Coventry and Dresden; well, yes, the big picture is one
thing, but on the individual human level of the scene, it doesn’t make
the victims any more or less innocent or any more or less dead in
comparison with one another.
Aleatory
And then the moment that swept my feet out from under me (or would have
if I hadn’t been sitting down).
They
changed the ending. This is my second admission: neither
from any advance word, nor from the visual
leitmotiv of a spinning coin used
throughout the evening, did I twig that the ending of this production
is aleatory. (Nor did at least one reviewer, who shall remain
Nicholas de Jongh; others seem cautiously to have avoided mentioning
it.)
Even having eventually grasped this point, there seems to me to be a
fundamental question here: with such a diametrical change of a core
element of the original, to what extent can this still be called an
adaptation? Is this – uncomfortable word – any less
honourable an operation than Nahum
Tate giving
King Lear a
happy ending? And if the ending can be changed so utterly at
random, this may make a comment about the casualness of war and death,
but what point does it also make about the unity and integrity of a
narrative? However, I’ve seen no word on this matter in any
review or comment on the production, so maybe this is just me getting
carried away with arcana again.
Astounding
In any case, I on some level enjoyed the complexity, ambivalence, even
inconsistency of my responses to the production. And – again, with the
exception of Nicholas de Jongh – most of the daily reviews I saw were
ambivalent in much the same way. Which made Nicholas Hytner’s
remarks all the more astounding. It seems to me that he’s
actually being rather more guilty of the things he’s inveighing against
than are those he is accusing (as is often the case when one flings
around accusations of category- or label-based prejudice).
For instance, I see little fundamental disagreement, little difference
in opinion on balance, between the review by Michael Billington,
supposedly a dead white male
par
excellence, and fresh-faced filly Kate Bassett, whose openness
has been explicitly hailed in other quarters as forming an exemplary
contrast to the DWMs. (This was a moment when the blogosphere
really came into its own, with both professional commentators such as
Lyn Gardner and Mark Shenton addressing the issue at length and an
energising flurry of contributions from numerous “civilians” on various
blog sites.) Kate, in an article for the media section of the
Independent, also repudiates
Hytner’s claim that this is a matter on which she for one has ever been
voluble in private, and most tellingly of all makes a point I alluded
to in my own 2005 rehearsal for this row: that DWM reviewers are less
likely to be replaced by younger, more open theatre writers than by
unqualified celebs or staff hacks who will be devoid even of such
allegedly outmoded ideas as those of the old guard. And how do we
define “old guard”? One blog comment has argued that Mr H’s
accusations only begin to sound to sound plausible coming from him
because his own generation has succeeded in re-branding 50 as the new
30 and marketing the concept of “middle youth”.
Accusations of misogyny seem similarly mote-and-beam: who is it, here,
who’s being sexist and throwing about accusations based entirely on
labels? It both amazes and amuses me that otherwise sane and
rational people, who grumble rightly about the extent to which, say,
politics is being reduced to a beauty contest and a matter of
labelling, will then vigorously indulge in precisely the same kind of
reductivism on an issue that happens to raise their own hackles.
(At one point Hytner appears to imply that Katie Mitchell is a lesbian;
I neither know nor care, but as regards it being an issue, those
comments have now introduced the matter into discourse where previously
it simply had not been. Well done, Nick.)
Representation
There is a kernel of real substance here, as regards the extent to
which reviewers can be expected to be representative of either their
readers or theatregoers as a whole. But it’s very easy, again, to
move from a substantive to a merely cosmetic sense of
“representation”. Yes, it’s a pity that there are virtually no
non-Caucasian reviewers, not just in senior positions, but virtually
anywhere of significance. (Of those whose names appear in these
pages with any frequency, I can think of only Tamara Gausi and Zena
Alkayat.) Again, though, surely this is not a writer’s fault for
being of the background and heritage they happen to be, but the
responsibility of those in editorial positions who, frankly, tend to
appoint people broadly like themselves. It seems to me that this
is a change that will be effected primarily from the top down.
And as regards being “representative” of theatregoers as a whole… well,
yes, all very well for Nick Hytner to point out how the National
Theatre’s audience is growing younger and more stylistically
adventurous, but in theatreland as a whole a “representative” reviewer
would be one who loved musical spectaculars, going to see the same ones
again and again, fervently following reality-TV casting series for
forthcoming productions and voting for their favourite new talent, and
was occasionally lured to a straight play by the prospect of a big-name
scalp. I’m sorry, but there it is. Even the NT’s own
greatest success during Hytner’s tenure has been
The History Boys, a production
which is both overtly and covertly nostalgic (i.e. it pretends to hark
back to the 1980s when its values and mode of banter are closer to the
1950s) and relies on a shared conservatism of values allied with a vein
of discreet camp to carry us over its shortcomings, written by a man
who is five years older than the oldest of the DWMs. Its
director: Nicholas “When I become a dead white male I will only be
hired to do dead white male theatre” Hytner.
Communicate
The point is not to be representative either of the theatregoers as a
whole or even of one’s readership, not in the sense of sharing their
taste or even necessarily their aesthetic or cultural context.
The point is to understand what is going on both on and offstage, and
to communicate with people. Again and again I come back to that
favourite quote, that theatre isn’t about getting to the right sort of
people – it’s about getting to the wrong sort and turning them into the
right sort. Cybernetics, the quasi-scientific study of
communication, defines information as the amount of unpredictability in
a message: the more you say what someone wants or expects to hear, the
less you’re actually
saying in
any meaningful sense. This, ultimately, is the grey area in which
the burden of Hytner’s remarks is located. Clearly, we as critics
need to occupy sufficient linguistic and conceptual common ground with
the people we’re speaking to, in order that we may communicate
effectively with them. But it is all too easy to sound as if one
is calling for total congruence, where significant communication would
in practice fall to zero and criticism would be no more than a kind of
semiotic feedback loop. The secondary question, then, is: how
reliable an indicator of this kind of engagement is the nexus of
age/sex/back-ground/etc labels? Compare matters like speed
limits, age of consent and so on: on the one hand, these are convenient
ways of plotting a line that we know has to be drawn somewhere; on the
other, they’re reductive means which take no account of individual
circumstances and become oppressive when (as they almost inevitably
are) one attempts to apply them uniformly.
Is it at least useful that Nick Hytner’s remarks opened up a
debate? Well, no, because it wasn’t a debate: it was a brief
blizzard of chatter which generated more heat than light and became a
creature of the media rather than an exchange of ideas of
substance. Nice try, though. And it surely was such a try,
because the alternative would be that he actually believed the tosh he
was saying, and I’m far too charitable to contemplate that for a moment.