| |
Theatre listings >
Theatre Index >>
The Good Hope
Playwright - Herman Heijermans
New Version - Lee Hall
Director - Bill Bryden
Music and Lyrics - John Tams
Designer - Hayden Griffin
Lighting Designer - Rory Dempster
Music Director - Graeme Taylor
Sound Designer - Ed Clarke
Dance Arranger - Chris Coe
Company - National Theatre
Venue Seen - Theatre Royal Glasgow 0141 332 9000 282
Hope Street near RSAMD
Dates - at Theatre Royal Glasgow 12-16 February 2002, 7.15pm Touring
on to Kings Theatre Edinburgh (19-23 February), Theatre Royal Newcastle
(26 February-2 March), Theatre Royal Brighton (5-9 March), Theatre Royal
Plymouth (12-16 March), and Theatre Royal Bath (19-23 March) Tour ends.
Run Time - 2hrs 15mins including 15 minute interval
Reviewer - Ksenija Horvat
Panache of individuals shine through the clutter
In the programme notes for this production of Herman Heijermans The Good
Hope (Op Hoop van Zegen), the playwright Lee Hall who has written this
new version, suggests that the play is a precursor of Brecht's Mother
Courage. This may be true of Heijermans original that created such a storm
when premiered on 24 December 1900, causing the Dutch government to change
the shipping laws nine years later, but it is, sadly, far from what was
shown to the packed audience of Glasgows Theatre Royal last night.
Indeed, there are some similarities in the ways both Mother Courage and
Kitty Fitzgerald send their sons to their tragic destinies, highlighted
by Frances de la Tours controlled performance, but the new version
by Lee Hall has neither the poignancy nor the appeal of Brecht's masterpiece.
It is cluttered with unnecessary melodramatic moments, which is just the
thing that Hall apparently wished to avoid, and might be one of the reasons
why the play's pace is so uneven throughout. Its story-line might also,
though very slightly, remind one of Synges Riders to the Sea. However,
Hall's The Good Hope has failed where Synge succeeded to draw the audience
with his poetic and powerfully dramatic language.
The old-fashioned manner in which the piece has been directed surprises
for the director is one Bill Bryden, the same Bill Bryden who was the
mastermind behind The Ship some years ago. To give credit where credit
is due, he did try to break away from the fourth wall by extending the
Theatre Royal's stage, and having the actors occasionally move through
the audience. But all of this is far from the theatre that we all know
and admire: the ingenious, vibrant, socially relevant theatre that John
McGrath et al shaped in the 1970s and 1980s.
The lack of acknowledgement of the nature and intention of Heijermans
play, as a piece about resistance and human dignity, is seen not only
in untidy re-writing and knotty direction, but also in the set design
which, though visually striking, leaves little space for actors interplay.
So, where does this leave actors? The clutter of words and furniture obstructs
potentially great performances from all of them, and yet, the professionalism
and panache of individuals shine through the clutter. Iain Robertson
and Diane Beck are excellent as Benjamin and Jo, while Sheila
Reid excels as Sarah. There are fine performances by John Tams
(Simon), John Normington (William), Emma Bird (Mary), Trevor
Ray (Dan), Linda Thompson (Susan) and the rest of the cast.
One cannot avoid the feeling that Frances de la Tours powerful stage presence
could have (and should have) been better exploited. There is also a discrepancy
between the ways in which the character of Christopher Makepeace, a shipowner,
have been written and directed, which largely hinders Tom Georgeson's
delivery of the character.
Some powerful moments are created by the use of local folk songs from
Whitby, where Hall sets the action of the play. Last night, for instance,
the audience rightly awarded the excellence of Chris Coe's solo clog dance
with spontaneous applause. However, these musical interludes seem mainly
superimposed upon the otherwise wordy structure of the play. It would
be interesting to see these small musical gems better integrated in the
actors' performances, in a rather different space, stripped bare, except
for the use of lighting (one must mention excellent design by Rory Dempster
in this production) and movement. This would be altogether different reading
of the play granted, but perhaps more suitable for this place and age.
©Ksenija Horvat, 12 February 2002
Cast Frances de la Tour, Steve Nicolson, Iain Robertson, Diane
Beck, John Normington, Tom Gergeson, Charlotte Emmerson, Howard Ward,
John Tams, Emma Bird, William MacBain, Trevor Ray, Linda Thompson, Sheila
Reid, Robert Oates, Edward Clayton, Ken Anderson, Alan Dunn, Charlie Hart,
Graeme Taylor, Chris Coe, Keith Thompson.
Theatre listings >>
Theatre Index >>
|
|
