On The Waterfront. To 3 May.
Nottingham.
ON THE WATERFRONT
by Budd Schulberg with Stan Silverman.
Nottingham Playhouse Theatre Company and East Productions.
Nottingham Playhouse to Saturday 3 May 2008.
Tue-Sat 7.45pm
Matinees: Sat 26 April, Sat 3 May 2.30. Thurs May 1.30
Audio Described: Sat 26 April 2.30, Wed 30 April 7.45
Runs 2hrr 20min. One interval
TICKETS: 0115 9419419.
www.nottinghamplayhouse.co.uk
Review: Jen Mitchell 24 April 2008.
Hard to imagine, maybe, but astounding results
It is hard to imagine how this seminal film could transfer to the stage without loosing some of the gritty realism it gained from the black and white images filmed on location in Hoboken, New Jersey. But transfer it does and with astounding results.
No attempt is made to recreate a naturalistic piece of theatre. The action is played out against a setting by the artist Patrick Hughes (famed for his reverse perspective pieces) – the silhouette of the New York skyline cut into a geometric backdrop. A perfect set for this stylised production. The lighting (designed by Mike Robertson) works to complete the theatrical synthesis, with clearly defined changes marking the various settings.
The film, with its famed individual performances, becomes an ensemble piece on stage, with each member of the 12 strong cast giving individual and group performances of great strength and power. Berkoff himself likens the play to a Greek tragedy and uses the ensemble very much as the chorus. Interchanging between individuals and crowds, they move with a flawless physicality – sometimes in controlled slow motion and sometimes with a frenetic energy representing the fear and anger of the dockworkers and waterfront dwellers.
Each of the ensemble become clearly defined characters as members of Johnny Friendly’s gang or as Joey Doyle’s friends or acquaintances; every one giving performances worthy of note.
With Marlon Brando making the role of Terry Malloy so legendary that some of his lines are still in the public consciousness, Simon Merrells has an awful lot to live up to. His tough guy swagger breaks down gradually as he admits the full extent of his role in Doyle’s death; we see denial, refusal, determination and moments of great tenderness as he makes the role his own – still keeping those recognisable physical characteristics made so famous by Brando.
With his physical and psychological presence, Sam Douglas as the gangland boss, Johnny Friendly, dominates the stage ruling the waterfront with ruthless determination and a complete lack of compassion. Vincenzo Nicoli gives an excellent performance as Father Barry as he too, wrestles with his conscience and moves from the waterfront rule of acting ‘D and D’ – deaf and dumb - to outspoken condemnation of the gangsters, putting his own and others lives at risk.
Steven Berkoff has used his mastery of the physical: unifying actors, movement, set, soundtrack and lighting to create a remarkable piece of theatre.
Terry Malloy: Simon Merrells.
Father Barry: Vincenzo Nicoli.
Edie Doyle: Coral Beed.
Johnny Friendly: Sam Douglas.
Charley “The Gent” Malloy: Robin Kingsland.
Big Mac: Alex Giannini.
Pop Doyle: Sean Buckley.
J.P. Morgan/Billy: Ian Drysdale.
Moose/Barney: Ian Gofton.
Runty Nolan/Skins: Dominic Grant.
Joey Doyle/Tommy/Jimmy: Alex McSweeney.
Luke/Mutt/Sonny: Alexander Thomas.
Director: Steven Berkoff.
Original Designer: Patrick Hughes.
Lighting: Mike Robertson.
Composer/ Musical Director: Mark Glentworth.
Costume: Helen Fownes-Davies.
Associate deisgner: Helen Fownes-Davies.
2008-04-29 20:11:23