NOVECENTO
Trafalgar Studio 2,
London SW1
Opened 1 November, 2010
***
Alessandro Baricco's play (filmed as The
Legend Of 1900 by Giuseppe Tornatore and starring Tim Roth)
receives its UK stage première as part of the Donmar Warehouse's
season showcasing its resident assistant directors in Trafalgar’s
smaller studio. Róisín McBrinn and solo actor Mark Bonnar
exploit the full range of dynamics from delicacy to tempest in this odd
tale of an intuitively gifted pianist aboard a transatlantic passenger
liner, found on board as an infant and who never set foot on land for
the rest of his life. Danny Boodmann T.D. Lemon Novecento's full name
is derived from the engineering hand who found the babe, the fruit box
in which he was found and the century which, like him, was only days
old at the time. Bonnar plays trumpeter Tim Tooney, with whom Novecento
struck up an eccentric friendship at the peak of the jazz age.
Paul Wills' design wonderfully suggests the unglamorous below-decks:
seams of rivets across the floor, sets of vertical pipes and an entire
backdrop curtain (and overhead tracks) of chains, which catch the light
atmospherically and are set swaying when the liner +Virginian+ runs
into a storm in which Novecento appears to set his piano dancing with
the very ocean. Ann Goldstein's translation is a smart mixture of
American vernacular and the fantastical strain of Italian poeticism
which informs the piece.
But poeticism can do only so much. An exhaustive account and an
intelligent and original author's perspective (such as in Thomas Mann's
novel Doctor Faustus) cannot
ultimately stave off the point at which one feels the truth of the saw
that writing about music is like dancing about architecture. That point
arrives during Tooney's account of a piano “duel” between Novecento and
Jelly Roll Morton: however gorgeous the descriptions, and however much
we may be aware that this account (like the whole play) is really about
intangibles of a much more numinous kind, we cannot but feel the
inherent inadequacy. The space itself supplies the other main drawback:
in the broad, low-ceilinged Studio 2, and especially in a solo piece, a
little shouting goes a long way, and any more than a little goes right
through you. Bonnar and McBrinn ride the script well, but it needs more
vertical clearance than is available here.
Copyright © Ian
Shuttleworth; all rights
reserved.
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