The comfortable seats of the erstwhile
Courtyard Theatre (the RSC’s temporary main house while the Royal
Shakespeare Theatre was being redesigned) have been replaced by raked
benching. The intention is to return this address to its name and
function of The Other Place, a home for new and more left-field work;
this programme of two double bills (which visit the Royal Court in
London briefly next month) are intended as a foretaste of what will
once more be an integral part of the RSC’s work as of 2016.
The Other Place is the particular bailiwick of deputy artistic director
Erica Whyman, who seems to have bagged for herself the two wackier
plays here. However, wacky doesn’t necessarily mean fruitful.
The Ant And The Cicada is an
attempt by Timberlake Wertenbaker, the biggest of the playwriting names
involved, to revisit the edginess of half a lifetime ago whilst also
retaining the wisdom of maturity. The result is a muddle. As two
sisters and a wealthy investor argue about developing an old family
property on a Greek island, Wertenbaker tries to avoid claiming to have
the politico-economic answers, but her method is to garble the
questions themselves into incoherence.
Revolt. She said. Revolt again. [
sic] by Alice Birch is a series of
scenes illustrating maxims for revolutionising one’s life,
illustrations which grow increasingly absurd. I was reminded of the
perspective of psychologist R.D Laing’s poetry, which examines intimate
relationships by distilling them to abstraction. Birch also
over-compensates when countering the marginalisation of women, coming
close to outright misandry.
Jo McInnes directs the other pair of plays, of which Abi Zakarian’s
This Is Not An Exit is a brief,
banal glimpse of a woman awkwardly negotiating the family and career
myths of “having it all” while keeping your own identity. The most
engaging of the quartet is
I Can
Hear You by E.V. Crowe, which uses an ordinary modern family –
not dysfunctional, but distinctly atomised both socially and
emotionally – to ask what would happen if the grief of bereavement were
assuaged in the most literal way and the dead could come back to us.
Crowe combines whimsy with uncomfortable home truths, and the company
blend conventional dramatic acting with out-of-kilter situations. This
is a tentative first step in reconnecting with the RSC’s more
experimental side; there is some way yet to go before both they and we
settle back into this mode.
Written for the Financial
Times.