The Barbican has played a major part in
familiarising contemporary British audiences with international theatre
work, with a programming range that is both geographically and
stylistically broad. Some of its presentations, it is true, have
consisted of the kind of continental European director’s theatre that
gets right up the noses of a number of Britons. To those folk, I would
argue that the current offering illustrates the precept “Be careful
what you wish for”
Mid-20th-century Neapolitan actor/director/playwright Eduardo De
Filippo was fiercely resistant to fripperies of staging, performance or
subject: he wrote about ordinary people, like the apartment dwellers
here who imagine that one of their number has been murdered and another
holds the evidence, even though the latter belatedly protests that he
had dreamt it all. Toni Servillo’s production from the Piccolo Teatro
of Milan sometimes feels not quite dwarfed but over-stretched on the
Barbican stage: he and designer Lino Fiorito are almost compelled to
deepen their stage picture with teetering towers of chairs and a granny
(or rather, elderly uncle) annexe behind a gauze, since for much of the
continuous hour and three-quarters of the proceedings there is nothing
on the forestage except a couple of kitchen chairs. All is white – not
the designer white that makes a statement in itself, but the white of
bare simplicity.
Servillo’s staging is likewise resolutely unfussy, and centres on his
own excellent, finely controlled performance as Alberto, the repentant
accuser who gradually learns that his dream has revealed a reality at
least as unpleasant as the non-murder, as friends and relations
conspire against each other and him to conceal the ugly truth that
isn’t even the truth. (Alberto’s sibling tension with his brother Carlo
is brought out partly by Servillo’s casting of his own brother Peppe.)
It is an admirable production, but far from compelling for a
non-Italophone shackled to the surtitles. The play is far more “tell”
than “show”, or at any rate it shows through the characters’ words
rather than physical actions. For most of the evening, the picture
before us is simply of people sitting on or standing by those ordinary
chairs. Without an exuberance of performance or staging, which would be
counter to the entire spirit of the thing, it serves principally as a
reminder that director’s theatre can have benefits of its own.
Written for the Financial
Times.