Friday, June 3, 2011

When the concept overpowers the words

As a performer and director, I treat the play-text with the greatest respect. I love style, heightened acting, visual feasts, hybrid forms, colours, lights, sounds, textures, etc etc - but if these things don't compliment the text (especially one that's been around a while) then I too feel disconnected from the experience. And that is exactly how I felt in Deborah Warner's re-imagining of Sheridan's classic comedy The School for Scandal at the Barbican.

Sheridan's beloved comedy on Georgian social mores is often difficult to produce. It's wit, although sharp, is specific to 18th century comedy and many contemporary productions go overboard in trying to re-align the text to contemporary concerns and anxieties. But I don't think a complete re-invention of the text is necessary. It's a charming look at gossip and the keeping up with the Jones' mentality of the upper echelons of society - they're vulgar, self-centered, and shallow - and yet some are redemptive and likeable nonetheless. Warner's production is a bold attempt to bring the classic into the 21st century - mixing Georgian and contemporary styles with a Brechtian structure of movable/foldable sets, showing us the workings of stage. It's visually stunning and playful (to the point of absurdity) but the muddy concept overpowers the words and thus the characters.

Costumes mix together Georgian corsets with modern tights, buckle shoes and sneakers, ripped jeans and 18th century wigs. Cell phones and coke (both the drug and the drink) make appearances. It's as if Warner is shouting "look how relevant this is to today's world!!!"

There's nothing consistent about this production. Sheridan wrote in a simpler time. Many of today's theatre is shrouded with contemporary society's anxiety of the information age where everything is at our fingertips. Sometimes we try to overcompensate as today's world is fast and confusing as new information flows faster and faster. It's hard to keep up. Warner's production embodies this uneasiness which is why is simply doesn't work with Sheridan's assured text. Even generational differences are shown through the acting styles - adding to the confusion of the direction. The older actors are calm and confident in their characters and delivery of the text - they are subtle, clear and lovely.

I believe in being bold as a director. But I also think sometimes the boldest choice is keeping it simple. I loved the visual blurring of Georgian and contemporary styles, I also loved the set (but not for this production) but overall the concept overpowered the text. The acting (although strong all around) was not consistent nor apart of the same world. It was filled with over zealousness and lacked humanity. Breathing new life into an old story is one thing, but if you want to completely re-invent a classic then just write a new story. Also, trust your audience. I felt as if I was being coddled at times - again that has to go with the "look how relevant this old play is!" concept. When it comes to the classics, simply good story telling will suffice. Trust the words. Make them come to life.

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