CLAW. To 13 April
London
CLAW
by Howard Barker
Greenwich Playhouse To 13 April 2003
Tue-Sat 7.45pm Sun 4pm
Runs 2hr 35min 2 intervals
TICKETS: 020 8858 9256
Review: Timothy Ramsden 27 March
A valuable chance to catch early Barker in a well-judged new production.Tempting to buttonhole some cast members and tell them I was watching Claw premiered before they were born. Put less patronisingly, it's interesting to see a new generation taking on a once-thought ferocious piece and with a strong grasp of its tough text, show this early Barker to be, if not assuredly a minor classic, definitely a superior period piece (I said less patronisinigly?).
Easy to see how, in its time (1975), the play showed signs of the political theatre of the day: like the slightly earlier Brenton/Hare Brassneck it charts the politically-edged development of a career from post-war to its own time.
But those playwrights wouldn't have come up with such a distinctive name for their protagonist, a mix of the patriotic mush which led wartime mum, having seen In Which We Serve, to christen her illegitimate baby after its star Noel Coward, and the real-life vitriol of violent homecoming dad, who nearly smashes the little bastard's head in. Nor make the distinct separation between dad's socialist rebirth as a last desperate gasp of hope, and son's individualistic careerism.
There's something sweet-and-sour about the boy who grows up peering shortsightedly through the thick specs that bring so much bullying. He finds a society where power can be obtained through exploiting sex, manipulating the rich and powerful through his call-girl network.
Like Brenton's Churchill Play, or Stanley Kubrick's film A Clockwork Orange the rich and powerful take their revenge. Noel rechristens himself Claw, but they have bigger hooks to hang him on - or baths to drown him in. From the policeman he first importunes, who punches him senseless and recovers his money, to Home Office minister Clapcott - whose rancid marriage and sexual sidelines would be cliches in a new play today - the powerful hold sway. Strange to look back and see this was the contemporary image of cuddly Ted Heath and 'Sunny' Jim Callaghan's governments.
Barker followed this Claw with a Bite (of the Night), Hang (of the Gaol) and Power (of the Dog) - so it was soon clear where he was heading. Meanwhile, Kazida Productions, whose policy is to mix new and experienced professional actors, may show some raw edges technically but they have the piece's rough measure.
Tom Bacon particularly catches the mix of ingratiating, insinuating (watch him turn a Young Communist girl friend into his first money-sharing whore) and rapacious. This clear revival shows how prophetic Barker was of currents in seventies society, and what was waiting round the corner.
Mrs Biledew: Imogen Dobbs
Biledew: Stephen Davy
Noel Biledew: Tom Bacon
Nora: Susie Emmett
Policeman/Second Assassin/Lily: Adrian Clargo
Christine: Sara Kewly
First Assassin/Police Motorcyclist/Special Branch Officer/Lusby: Edward Rees
Clapcott: Martin Ritchie
Angie: Tara Lester
Director: Jonathan Lee
Designerrs: Sarah Turner, Alexander Costello
Lighting: Peter Harrison
Assistant Director: Sara Kewly
2003-03-31 12:36:58