Five years ago, Tim Supple’s
international, multicultural theatre company Dash Arts announced its
arrival with a fizzing, polyglot
Midsummer Night’s Dream. They followed this up with a version of
As You Like It
which seemed entirely a prisoner of the debut’s success, trying at
every moment both to be like it and unlike it, and deadly dull as a
result. This mammoth, two-part adaptation of the classic Arabic
compendium has found some of its mojo once again, but not enough.
The
RSC’s adaptation for Christmas 2009, although it discreetly hymned the
virtues of tolerance and mercy, was primarily a collection of ripping
yarns. This version does not have such a priority, despite sharing one
or two of the same tales amongst its selection of 20 or so and despite
Shahrazad’s storytelling skills being all that keep her alive from
night to night in the framing narrative. Supple and adapter Hanan
al-Shaykh like the storytelling, and especially nested third- or even
fourth-degree narratives: they like it so much they could not cut the
work down to a single show, and indeed break this diptych midway
through a linked series of stories. But, particularly through Part Two,
matters begin to focus on relations between the sexes; Shahrazad has
been put in her precarious position because her husband is convinced he
can no longer trust women, but as the stories progress we begin to see,
along with him, the at least equal perfidy of men and the
resourcefulness of women in dealing with it. Even more than this, the
collection feels specifically Muslim in tone: the noble and sympathetic
qualities it affirms, and also the upright concerns with honour and
rectitude, feel as if they spring from that particular religious
culture.
This is absolutely not what holds the production back.
Its principal drag is rather that Supple as director seems to treat the
material, though not because of its religious component, with too much
reverence. The tales vary in register from high to Chaucerian-bawdy,
but Supple begins at a stately, almost ritual pace and only varies it a
little through five hours of playing time. That's a lot of time to
spend at one speed; the surtitles to the English/French/Arabic dialogue
have the right idea, galloping and slowing… it’s simply a pity that the
action itself doesn’t match them.
Written for the Financial
Times.