Playwright Enda Walsh has a thing about
nightclubs. In his 1996 breakthrough play
Disco Pigs, the climactic events
occur in a club; in his most recent,
The
New Electric Ballroom, characters are forever recalling and
trying to relive their nights at the eponymous joint. Now, in his
adaptation of
The Brothers Karamazov,
the orgiastic party at which Mitya Karamazov is arrested for his father
Fyodor’s murder becomes the opening night of a club which Fyodor has
bought for Grushenka, the beloved of both father and son. There seems
to be something for Walsh about such environments in which intense
consumption and equally intense emotional interaction take us to the
meat of things; and since Dostoevsky prefers to put his characters
in extremis, one way of compressing
such a vast novel is to confine the father, his three acknowledged sons
and the fourth illegitimate one, his servant Smerdyakov, along with
Grushenka and Mitya’s deserted fiancee Katya, together in the club for
the entire second half of the play. Oh, and let’s not forget the music
– Public Enemy and Screamin’ Jay Hawkins are not normally associated
with Dostoevsky. (Magazine’s “A Song From Under The Floorboards” –
that’s Dostoevskian rock, but
absent here.)
The adaptation has been made for and with Theatre O, whose rich and
often visual work has garnered acclaim in the past. It has to be said
that the opening scene almost seems like self-parody, as the company
throttle, batter and generally belabour one another in a kind of
overture of all the most violent moments to come. I am unconvinced,
too, that they successfully work the contrast between these episodes of
hyperanimation and the great Dostoevskian themes of God, belief, will,
virtue and the like. (Middle brother Ivan’s famous “Grand Inquisitor”
fable is present only as a pale shadow in which Ivan himself, rather
than his fictitious character, rails against Christ’s alleged
shortcomings and betrayals.) The evening overall strikes me as one of
those treatments which do not stand autonomous from their source
material: the evening’s true impact includes the resonances between the
novel and the dramatisation, particular choices of emphasis, excision,
parody etc. In other words, the play alone can’t carry the weight of
its material. The international company (literally) throw themselves
wholeheartedly into the enterprise, but Theatre O have not squared this
particular circle.
Written for the Financial
Times.