Toneelgroep Amsterdam’s non-stop production of
Coriolanus,
Julius Caesar and
Antony And Cleopatra might have
been expected to anger those who exalt the liveness of theatre. Most of
the action, which takes place around a large, cluttered media lounge of
a set, is visible principally on a large video screen above the stage,
where we also have to look for surtitles. Yet this
is live action, and moreover the
audience becomes an integral part of it. For we are invited, during
each of the brief scene changes which take the place of intervals, to
come onstage for the next segment, sit on a sofa, get food and drink
from stalls at the side of the stage, even check our e-mail at an
Internet point.
A number of productions of Shakespeare’s Roman plays use the audience
as the mob of plebeians at required moments, but director Ivo van Hove
integrates us throughout as the
populus
of
Senatus Populusque Romanus,
amongst and amidst whom these events take place. And even though we
are, as it were, the arena, we still have to look at screens to get the
full picture, for that is the condition of contemporary world events.
And if that picture is sometimes confused, well, history is written by
the winners, but rolling news has to cover all the bases. Indeed, some
news bulletins are interpolated with the action, so that we see
interviews with Coriolanus’ enemy Tullus Aufidius; moreover, an LED
display above the video screen periodically ticks the day’s real-life
news past us.
It is a thrilling enactment of the way the modern citizen exists amid
the multi-valued carnival of politics and media coverage. It is,
however, far from faultless. Turning a number of major characters into
women may make sense in contemporary terms, but it jars with the
distinctly subordinating assumptions of the plays: how can a female
Octavius Caesar conquer most of the known world and yet no-one question
her treatment of her own sister as a chattel? Some of the actuality
footage shown on minor screens around the stage is specious: the
implicit analogy between Julius Caesar and JFK does not stand up to
more than a moment of scrutiny. Above all, I found that the production
had made all its presentational and structural points by its halfway
mark. I am an
aficionado of
theatrical marathons, yet I found these six hours were enough to run me
into the durational “wall” but not through it.
Written for the Financial
Times.