THE CHAIRS. To 9 December.
London
THE CHAIRS
by Eugene Ionesco translated by Martin Crimp
Gate Theatre To 9 December 2006
Mon-Sat 7.30pm
Runs 1hr 25min No interval
TICKETS: 020 7229 0706
www.gatetheatre.co.uk
Review: Timothy Ramsden 28 November
Wooden performances fill anti-drama.
A near-empty room is occupied by a long-married old couple who couldn’t have a closer relationship; when they sit on the only 2 wooden chairs the room at first contains, their legs almost instinctively interlock.
But Eugene Ionesco, who once, with Samuel Beckett, fronted the critical category of Absurdist playwright, isn’t talking about individuals. This anonymous room, apparently surrounded by water, is the setting for a general picture of mankind.
The Old Man’s a janitor, a job which gives him a sense of mastery and a comforting belief that he has a message for the world - like anyone who could sort out politicians’ or intellectuals’ problems.
So far life’s consisted of mutual admiration between this pair, with familiar old stories of non-events told repeatedly to provide the reassurance of repetition.
But this is the great day. Crowds are coming to hear the Old Man’s message. Announced by a shrill bell, invisible figures arrive through the multiple doors of Jeremy Herbert’s set (only some final coughs and comments in Gregory Clarke’s soundscape suggest director Thea Sharrock wants us to believe anyone’s there). An emperor, or king of kings, arrives through the focal double-doors, slowly traversing the stage as a light-beam, untroubled by the chairs round which others have to squeeze.
Sure enough when with his adoring partner, this chap’s not going to face the public. He’s hired an orator, who’ll tell the world all when the couple have disappeared (through embarrassment, non-entity or whatever). Yet the imposingly-suited figure who eventually arrives cannot, despite his grand manner, deliver.
Sharrock keeps the non-events moving with a sense of purpose while a bearded Nicholas Woodeson and dowdily-dressed Susan Brown give depth and humanity to their anonymous figures. The success of this production lies in the balance between Ionesco’s ruthless generalisation and the particularity of these finely-acted characters.
Brown, hurrying as hostess to provide enough chairs, or open-mouthed in wonder at the emperor, Woodeson with cuddly enthusiasm and deep seriousness, give the play a human substance which sustains its single idea over 85 minutes. These fine actors speak up for humanity, enriching their downbeat playwright.
Old Woman: Susan Brown
Old Man: Nicholas Woodeson
Orator: Edward de Souza
Director: Thea Sharrock
Designer: Jeremy Herbert
Lighting: Oliver Fenwick
Sound: Gregory Clarke
Choreographer: Scarlett Mackmin
Assistant director: Kate Budgen
2006-11-29 16:15:03