Skip to main content

The Woman In Black, Dir Robin Herford, Truro

The matinee performance fills 850 seats in the theatre with almost exclusively school trips for GCSE sufferers and a smattering of unsuspecting individuals who each look somewhat crestfallen to be confronted with a venue full of over-excited young people released from the confines of the classroom for an afternoon, some of whom have never been out of their own localities into the city. They shove and giggle and squeal and, most delightful of all, every time they are frightened they scream with the effect of a Mexican wave, started off by one pre-emptive female and taken up in relay throughout the entire auditorium. This prolonged screaming is followed by a similar wave of laughter which relieves the tension in the dark. There is a significant element of heightened drama here, and it’s not on the stage.

On stage, however, the performance is robust and engaging, led by Dominic Marsh, a tall, impassioned thesp who delivers his lines with force, clarity and precision. Michael Burrell plays the older man who has engaged the services of said thesp to help him tell the story of an experience he had when a young man, so they both act out the drama with Burrell constantly switching characters in order to be all the people in his story, which is very entertaining.

This is an interesting adaptation by Stephen Mallatratt of Susan Hill's ghost story, now in its nineteenth year, The woman in black appears occasionally, which causes the screaming, but does not appear on stage to take a bow, so perhaps she was never there. You know what is said about theatres.

Comments

Popular posts from this blog

Running ‘till your nipples bleed

An email from a friend of mine arrives; she complains that, at work, she is routinely subjected to gruesome accounts of female colleagues’ intimate medical procedures and gynaecological problems. I am all commiseration because I, too, have had years of listening to workplace chats about periods, childbirth and sex lives. Oh please. Later, I wander off for a walk in the early evening sunshine and it is so silent and so beautiful that I flop down on the grass and lay awhile gazing out over the rolling fields, and the mouth of the river, and fall into a reverie. Two men pass by. A few minutes later sounds of women’s talk float nearer and, by the time the two females of the species draw level with me, I have risen up from my deliciously recumbent position in the meadow, alert and tense, something like a meerkat. “I do feel for her. Going down that IVF route is such an emotional roller coaster. I was never prepared for how terrible it was going to be.” I remain frozen in my meerkat position...

GLORIOUS 39. Dir Stephen Poliakoff. 2009

Glorious 39 strips away illusions. Poliakoff presents the apparent idyll of an English aristocratic family headed by genteel patriarch Lord Keyes (Bill Nighy). He presides over a country estate in Norfolk and his elegant townhouse in London – a world of golden light, romantic ruins, servants, house parties and happy children. But this is 1939, a mere 21 years since the Great War, the war to end all wars, in which millions died, Britain was crippled with war debt, and the English country house system which he so values was almost annihilated. There are many references to the ancientness of his family and tradition, but now, few male servants remained alive or unmaimed to work the English landscape or to be in service to the old families. Fearing domestic and political upheaval, appeasers such as Keyes sought to prevent Churchill leading the country and taking Britan to war, and to buy off Hitler to preserve British cultural and national identity. Nighty is excellent, contro...

Ian McEwan. Amsterdam. London: QPD, 1998

McEwan’s novel about ambition, personal betrayal and revenge features Clive, a modern composer trying to complete a major orchestral work, his friend Vernon, an editor trying to save his ailing newspaper, and Garmony, an unscrupulous right-wing politician on the rise. In common, all three have, in previous years, been lovers of recently dead Molly. They meet at her funeral and the story follows the next few weeks of the men’s lives. Vernon and Clive act as one another’s conscience, each infuriating the other. Which is more important, honesty, friendship and trust or Vernon’s newspaper and Clive’s symphony? The novel presents the difficulties of balancing personal and public morality, the importance of private shame and public reputation, the conflict between taking a moral decision for the greater good, or putting first ones own desires. Not just a simple exposé of a politician with a vulnerable side, Amsterdam is full of double standards and surprises, and takes a long, cynical look a...