The Wrestling School, the company dedicated to the plays of Howard
Barker, is celebrating 21 years of existence “in the teeth of critical
and bureaucratic hostility”. After the shock of my first exposure to
Barker I have grown to respect and admire much of his work, with its
unflinching moral rigour and stark refusal to let an audience off the
hook for even an instant. However, it has been a few years since I last
crossed paths with the company, and on this showing he has refined his
approach almost out of existence. The trademarks are all present:
visual and aural astringency, a world in shards (usually during or
after a grisly war), an enclosed environment with a number of vicious
and irresolvable personal discords within it. But beyond that, nothing:
no events, no dilemmas, nothing except the unremitting condition of
devalued desire, articulated depravity and a kind of elegant
apocalypse. The (wonderful) mechanical dogs, (curiously coy) quartet of
urinating nurses and (challengingly low-key) late appearance of Hitler
neither relieve matters nor add any kind of form or shape to them.
In some ways this is Barker’s take on Beckett’s
Endgame: a wheelchair-bound
domestic tyrant ordering his household around in the aftermath of,
effectively, everything. In this case, former war crimes judge Lord
Toonelhuis appears to exist on a diet of the mortal remains of
middle-ranking Nazis, and employs a librarian to oversee not the
cataloguing of the rare book collection he has painstakingly built up
but its immolation, in A to Z order. Librarian, servants, nurses and a
bunch of undefined women (including one who periodically walks across
upstage topless in a hat which conceals her face, declaiming, “I am all
the Anne Franks!”) get on each other’s nerves for nearly an a hour and
a half, then Toonelhuis dies and things take another half-hour to grind
to a halt.
There are numerous lapidary pronouncements on life, art and culture,
and a whole raft of Nazi imagery and allusions, but none of them seem
to connect with anything either within the world of the play or beyond
it. Barker seems increasingly to believe that the more dissatisfaction
he elicits, the more he must be doing something right; he might do well
to recollect that this isn’t especially valid as a general principle
and to question why he thinks he might be an exceptional case.
Written for the Financial
Times.