Children of a Lesser God: Medoff: Salisbury Playhouse to 10th April 2004
Salisbury
CHILDREN OF A LESSER GOD
by Mark Medoff
Salisbury Playhouse March 25th to 10th April 2004
Mons-Weds; 7.30 pm; Thur Sat; 8.00 p.m. 1st , 3rd, 8th and 10th April 2.30 p.m.
Audio Described performance 2.30 p.m. and 7.30 p.m. 8th April
BSL signed performance 26th March at 8.00 p.m.; 1st April at 2.30 p.m.; 7th April at 7.30 p.m.
Runs 2 hours 20 minutes: One Interval
Tickets 01722 320333: http://www.salisburyplayhouse.com
Review Mark Courtice: 31st March 2004
More flares than flair in this solemn 70s revival.In 1978 this may have seemed like a radical exploration of the politics of disability and culture. How's it lasted? In Salisbury's solemn revival, only so well.
Medoff's play tells of the relationship between teacher James and Sarah. She is deaf and does not speak through choice as much as circumstance, he teaches the deaf to live in the hearing world by learning to speak. Is he encouraging students to betray their culture? This relationship is used to explore the wider issues of how we treat people who refuse to subscribe to accepted definitions of normality.
The problem with these characters is that only one speaks, so both in fact sound the same, everything coming with the tones of James' voice. This demands a great deal of the actor and Dan Fredenburgh often makes heavy weather of it, pacing and tone struggling to keep our interest.
In 1978 this show was West End fodder with a socking great star part and a star maker role for the girl, and that's how it seems now. Carefully set and costumed in period style (including flares), but with a young cast director Laurie Sansom has a chance to make it much more interesting with lots of energy and some fiery performances, but too often things slow down for political or moral lectures that badly need drama to make them work.
Jessica Curtis' black and orange set reflects the sombre tone of the production (more black than orange), and this is not helped by Oliver Fenwick's fitful lighting. Too often spaces are too small and actors disappear into blackness.
Diana Martin is excellent as Sarah, always convincing, comfortable in the character and interesting to watch. It's therefore a shame that this is the less well written part, tied to simultaneous translation from Fredenburgh's character, and compromised by a frankly unconvincing reversal at the end.
Another effective contribution comes from Eileen Battye who makes Sarah's mother's epiphany believable and the underwritten relationship with her daughter more interesting and affecting than might be expected.
James Leeds Dan Fredenburgh
Sarah Norman Diana Martin
Orin Dennis Daniel Webster
Mrs Norman Eileen Battye
Mr Franklin Barry McCarthy
Lydia Sarah Moshe
Edna Klein Kate Russell-Smith
Director Laurie Sansom
Designer Jessica Curtis
Lighting Designer Oliver Fenwick
2004-04-06 13:14:20