Under the arches beneath London
Bridge railway station, an astounding thing is happening: Philip Ridley
is having fun. Neither his children’s nor his adults’ plays are by any
means joyless or humourless, but it is joy in the teeth of danger,
humour on a knife-edge with devastation. However, this seasonal family
show is liberally laced with, well,
jokes.
And not just jokes, but outright self-parody. This is once again the
man whom I saw make an award acceptance speech that was interrupted by
a crocodile of schoolkids and resume with the words, “I’m reminded that
one of the major themes in my work is mutilating children.”
In this tale, the young female protagonist’s beloved pet bird can
cheerily begin his narration with “I’m not going to be around for much
longer so make the most of it”; elsewhere, it is considered too grisly
to actually portray a fatal leopard attack, so the big cat and its
victim affably recount the episode like a couple of breakfast TV
anchors (“You were bleeding horribly”). David Mercatali demonstrates
why he currently enjoys Most Favoured Director status with regard to
Ridley’s work by making sure the blackness of moments like these is
blithe rather than lowering, and in general keeps things skipping along
for two hours (and 500 years of internal history) with a principal cast
of six plus another dozen and a half members of Southwark Playhouse’s
young company meshing together in fine ensemble work. Adam Venus in
particular excels as everything from that bird and leopard to a gossipy
midwife and a succession of historians.
The preoccupations are standard Ridley: stories (“story” crops up
within the first ten words… possibly more self-parody) and home, our
constant yearning for each and the way we sometimes use the former to
build the latter. In a folk-tale style quite different from his more
usual dark magic realism, we see religion, wars, fanaticism, Mutually
Assured Destruction as well as individuals and groups simply trying to
find lives for themselves in an unreliable world. It will shake
no-one’s worldview, nor does it set out to, yet if you watch
attentively you can spot substantive and complex ideas gliding past:
file for later consideration if you will, or if not, not. For once,
though, Ridley is stressing the “fun” in profundity.
Written for the Financial
Times.