Review The Odyssey

An adaptation of The Odyssey with a bijou cast and inventive outdoor staging delights Peter Barker.

The Odyssey
Adapted by Phil Willmott From Samuel Butler's Translation Of The Ancient Greek

More Hit Than Myth
http://bit.ly/TheOdysseyTheScoop

Mythic characters from ancient Greek literature spring to life in this year's free open-air performance at The Scoop amphitheatre on the South Bank by London City Hall

The Odyssey is a Greek epic attributed to Homer. Now writer/director Phil Willmott has adapted Samuel Butler's Victorian translation and presents a fast-moving, enjoyable version of The Odyssey in three parts, each lasting one hour with intervals in between.

Unless London experiences a Greek summer weather-wise, warm clothing and a thermos of something hot or cash for food and drink stall purchases are recommended. Cushions and blankets are available for rental - otherwise again bring your own. 

The first part during the early evening, A Great Big Greek Adventure, is pitched at children.

Odysseus, the poet king of Ithaca, played by a muscular bearded Henry Wyrley-Birch, leads his band of warriors to victory against the Trojans before the homeward-bound journey to the strains of The Lightning Seeds's Three Lions with the words slightly adapted - "The Greeks Are Going Home".

The Power of Love, the second part at sunset leads us into the dangerous enchantments of the bewitching Sirens and seductive goddesses trying to tempt Odysseus and his ship’s crew who struggle to keep on course for Ithaca.

Finally night-time brings The Homecoming. Years have passed and Odysseus returns to Ithaca, only to have to fend off many suitors for Queen Penelope before reunion with his wife and the son who has grown up in his absence

Wilmott directs a pacey production with a versatile cast. Nine players playing multiple characters and breaking the fourth wall when they become a chorus commenting on events.

The three-level plywood set, painted with a map of the Aegean, designed by Philip Edolls has a pop-up feel. The styling with costumes by Penn O'Gara and the choreography of movement director Francesca Bridge-Cicic are also reminiscent of easy-to-understand cartoon versions of the Greek myths created for children,.

Staging, with lighting by Phil Supple and sound by composer Theo Holloway, is done with small resources but much imagination.

Odysseus and his crew's encounter with the many-headed sea monster Scylla - Lawrence Boothman - and the giant Cyclops - Lincoln James - encompasses inventive physical theatre as well as puppetry. Billowing blue sheets conjure up the clash with the sea god Poseidon while the battle where Queen Penelope's numerous suitors are driven off is both ingenious and magical.

Rebecca Laydoo is a dignified and beautiful Penelope while Adrian Decosta proves his versatility as Oydysseus's loyal son Telemachus while also winning the audience's hearts on all fours (mostly) as Odysseus's loyal playful dog Argos.

Molly Crookes makes a blonde and lithe goddess Athena and PK Taylor is both the sea witch Circe and Odysseus grown old. However the cast are an ensemble and plaudits must also go to Toyin Ayedun-Alase and Alec Porter who equally take on several different roles.

The Odyssey at The Scoop is certainly a pleasure to watch with an easy-going drop in and out ethos where anyone can choose to stay, leave and then even return again (like Odysseus!) at will.
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This is fun evening, that passes far quicker than its three-and-a-half-hour running time. It's highly recommended for families, children and adults. And, just as good, it’s free, so it's definitely a green light!

Review Incident At Vichy

A lesser-known Arthur Miller play where the playwright tackled the fate of the Jews during the Second War receives a fine production, says Francis Beckett. 

Incident at Vichy 
by Arthur Miller  

Miller's Jewish Question
http://www.kingsheadtheatre.com 

Arthur Miller may be the greatest English-language radical playwright of the twentieth century. His 1949 play Death of a Salesman is the most accurate and effective indictment of American capitalism I know, and Miller himself was summoned before the House Un-American Activities Committee.

Yet, on his own admission, he was for years tone deaf to the Second World War persecution of the Jews. In Italy in 1947 he glimpsed a group of Holocaust survivors on their way to Israel but could make nothing of it.  “I was talking to burnt wood, charred iron, bone with eyes” he wrote later.

Yet he was a Jew.  (He told a story about taking his second wife, Marilyn Monroe, to meet his parents, who offered her matzo balls to eat on three consecutive days.  “Isn’t there any other part of the matzo you can eat?” she asked.)

In the 1960s Miller at last began to see the Holocaust clearly, and to relate it to all the things he had fought against all his life.  This short play is one of the results.

It takes place after the fall of France in 1940, when the northern part of the country was under  the direct rule of Nazi Germany. The French government under Marshal Pétain was allowed nominally to rule the rest from the spa town of Vichy. However Pétain’s authority was very limited, and relied on his willingness to do the victors’ bidding in most matters, including implementing Nazi race laws.

So some strangely assorted men are gathered in a police station in Vichy, most of them having been picked up on suspicion of being Jews, and they will have their noses measured, and their penises  inspected to see if they have been circumcised.

Three of them are not Jews. One man has been picked up as a communist, another is a gypsy, and a third an Austrian prince who, we are encouraged to believe, is probably a homosexual.

It’s a very strong and effective play even at that level, the level of telling a gripping story.  These men are not saints. They are fully-drawn human beings, with human weaknesses, and as likely to show solidarity in the face of dreadful danger as you and I.

But it’s the politics of the play, and its contemporary relevance, which most interest director Phil Willmott, who says he was “amazed to discover that the play had always been presented realistically.”  So for the first time, he says, it is now performed without a naturalistic set.

I don’t buy Willmott’s view that Miller didn’t intend us to believe in the play as a representation of what might easily have happened in Vichy France in 1940 or 1941.  But it doesn’t matter.

The set designed by Georgia de Grey is quite naturalistic enough to convince in a fringe venue like the King's Head, which doesn't need all the naturalistic bells and whistles a West End audience demands.

Willmott moves his cast around economically and with calm assurance. That’s to say, he doesn’t insult the audience by supposing constant movement is needed to keep our attention. If, for instance, the dialogue demands the actors sit still for minutes on end, that’s what they do.

Standouts for me in a strong cast were Laurence Boothman as a terrified and neurotic painter; Edward Killingback as the Austrian prince; Brendan O’Rourke as a communist electrician; PK. Taylor as an actor; and Timothy Harker as the Nazi doctor, saying dreadful things in a calm and bureaucratic tone.

But all twelve actors were excellent; there isn’t a weak link. And just pause at that number for a moment. Twelve actors in the Kings Head, which would be crammed to the gunwales if 118 people turned up, and the venue insists they pay every actor, at a special rate agreed with the actors’ trade union Equity.

Paying actors a regular wage is almost unheard-of on the fringe, and the King's Head is much to be congratulated on doing it. Before the performance on press night artistic director Adam Spreadbury-Maher made a charming and amusing plea for funds and I saw quite a few banknotes being thrown into the buckets his staff held out as we left.

Good as that was to see, it still seems wrong that we now live in a society where you can only pay actors for a fine production like this by rattling a charity box.

Still, you’ll help them by going to see Incident at Vichy; and you’ll see a fine production of a really interesting play, for which a green light is the least I could possibly award.

Review Incident At Vichy

Incident At Vichy
by Arthur Miller

No Exit
http://www.finboroughtheatre.co.uk/

"Hope", wrote American poet Emily Dickinson, "is the thing with feathers-/That perches in the soul-/And sings the tune without the words -/And never stops - at all - ...".

Is this what was in playwright Arthur Miller's mind when the mute Old Jew (Jeremy Gagan), called to the front of the queue and facing extinction in 1942,  stands up and feathers scatter around the room from the homely pillow cover he has been clutching?

For it struck us that Miller's 1964 play Incident At Vichy is about human hope in the face of almost certain disaster. Set in "unoccupied" France, French police have rounded up eight men and a boy and are handing them to the Nazi regime.

Almost all of them turn out to be Jews on false papers. They clutch at whatever slim chances present themselves. They also deceive and lie to themselves and others all for a sliver of hope that they will survive.

The artist Lebeau (Lawrence Boothman), for example, tries to persuade himself and others that he has some agency, that it was not him, but a parent clinging to material goods who stopped him from escaping in 1939 on a US visa.

But even this seemingly simple situation has complex layers. He admits to feeling guilt, but it may be misplaced.

What is unsaid is that the elderly had far less chance of obtaining a visa and being allowed into other countries than the younger generation. Their children often had to make the anguished decision whether to stay behind with them or leave the country. He may be lying to preserve his own sanity in the face of certain death.

For it seems to us Incident At Vichy is very much a psychological play, the very human trait of human beings believing their beliefs and actions mean something and can directly lead to survival - and that their survival is not a random blip but says something about them. Transforming them from human beings buffetted by fortune that they cannot control into symbols.

Miller himself described the origins of the story behind Incident At Vichy in the vaguest of terms but named the person who relayed it to him. It's a story about "a friend of a friend" who is the recipient of an extraordinary selfless act by a fellow human being.

An incident  every Jew, every human being, must hope would happen to them if he or she was in such a position. A story everyone would want to hear even if it were a one-off or an urban legend (Losey's later movie Monsieur Klein is another kind of riff on the theme).

Although it was first staged at the Lincoln Center, this play feels very much as if it were written for  radio or a TV play (Twelve Angry Men may be a different subject with a different outcome but it's also a play similarly centring on persuasion and realisation).

Phil Willmott directs a production of great clarity with outstanding performances from Edward Killingback as dilettante gentile Austrian nobleman Von Berg and PK Taylor as an actor who tries to convince himself that confidence in his own performance both as actor and human being will win through.

We did wonder whether a production with an even more diverse cast would open up the universal themes and knotty problems contained in this play more.

The script at times feels slightly clunky as the issues are laid out - this is very much an issue-led play. Nevertheless the issues lead to no simple conclusions where devastating realities set against the nature of human relationships and politics form a web catching every class and type.

While Leduc, the psychiatrist (Gethin Alderman) seems the clearest sighted, he also has his own blind spots. At one point he blames his wife for his situation and at another time views others, not himself, as being as conditioned as Pavlov's dog.

Incident At Vichy is a play set in the year the USA entered the Second World War but also examines issues of power and responsibility which remain live in our times. Both Von Berg's belief in old pre-war feudal structures where he could proffer personal protection and Leduc's belief in education and self-awareness prove illusory. 

It's an amber/green light for a timely production with a discussion of issues always with us including industrial success achieved by using free labour and slavery rather than on its own business merits.