What with all those gouts of gore, it’s
a wonder that none of them ever seem to stain the snow onstage. The
fluffy white layer underfoot is about the only seasonal element not
refracted, subverted and darkened in the Royal Court’s anti-Christmas
presentation this year. Instead of a deathless baby boy in a manger
indicated by a star, we have an undead adolescent girl who sleeps in a
trunk to avoid sunlight. This adaptation from John Ajvide Lindqvist’s
novel and screenplay was an unlikely summer hit for the National
Theatre of Scotland, and it now follows its director John Tiffany down
from NTS to the Royal Court.
Jack Thorne is strong on writing about adolescence, and his TV series
The Fades showed that he could
combine this with modern horror, so he is a natural fit as adapter
here. The stage casting inevitably loses that extra cusp-of-puberty
oddness palpable in both the Swedish and Hollywood film versions, but
Martin Quinn as the bullied outcast Oskar and especially Rebecca Benson
as the unnatural Eli create an atmosphere of their own. Christine
Jones’ set mixes a silver birch wood with a climbing frame (which
becomes a water-filled swimming pool for the climactic scene), Ólafur
Arnalds’ ambient score is like slow-motion gusts of unearthly wind, and
even Steven Hoggett’s movement sequences shake off any air of
over-familiarity and cannily articulate some of the more abstract
aspects of the tale.
For Tiffany and Thorne’s version keeps a tight focus on the personal
dimension. There is scarcely any sense of period (Lindqvist set the
story in the Sweden of 1981), nor of social or economic elements. This
is about Oskar and Eli, the bond that grows between them and the
reasons for that closeness in the deficiencies of their respective
relationships with the adults around them. Eli’s “minder”, biologically
older but chronologically much younger, commits serial murders for the
blood she lives on but harbours a despairing romantic love for her;
Oskar’s mother is emotionally over-demanding, and his teacher fails to
spot or to act on the bullying which is a daily feature of his school
life. This leaves the two of them as the only available right ones for
each other. Hardly peace and goodwill to all men, but this kind of
devotion and self-sacrifice is not a million miles away from the usual
Christmas message.
Written for the Financial
Times.