THE SOUND To 11 July.
London.
THE SOUND
by David Mercatali.
Blue Elephant Theatre To 11 July 2009.
Tue-Sat 8pm.
Runs 1hr 10min No interval.
TICKETS: 020 7701 0100.
www.blueelephanttheatre.co.uk
Review: Timothy Ramsden 27 June.
Unheard sound signals break-up.
It may seem strange a play with this title has no apparent Sound designer. That’s because there are no sounds. There is one in the story, recurring with increasing frequency and disorienting those who hear it. They are a group of six who, under the control of Deacon, take shifts watching The Spot – assiduously returning to record assiduously that, once again, nothing’s happened.
This sound’s represented by a lighting effect, a symbolic representation for what is, in the play, a symbolic sound. It’s something of a symbolic, or at least metaphorical, play overall. And the lurid lighting moments allow concentration on the impact of the ‘sound’ on the characters; they certainly are hearing something strange and excruciating.
There’s a naggingly unrealistic undertow beneath the realistic surface of David Mercatali’s play. Its characters are individually named but, with no apparent reason, their names follow the alphabet.
All it lacks realistically speaking way is the ‘Marie Celeste’ moment – where a Stanley-like figure appears to declare ‘All gone crazy. I presume’ on finding an empty room that’s clearly been in use, or finding, as here, one remaining occupant in no state to explain himself or anything else.
Mercatali’s work is stronger for not trying to define events as crazy or people as crazed by any such outside measure of rationality. Instead he shows how the tiny fissures beginning to appear in the only woman, Cerys, with her reluctance to continue accepting Deacon’s prescribed rituals and his mantra for obedience: “Don’t think – Do” eventually expand to crack the whole team apart.
It’s not a new subject but it’s handled with a specific coherence that gives the drama an energy, and Mercatali knows when to develop aspects of his characters, and how to create focus. When things get physical there’s no dominant individual, but a sense the intensity of motivation helps decide who comes out on top.
Yet Merco Productions’ premiere is not helped by some of the performances. Deacon, for all his glaring and glowering, doesn’t give the sense of a leader, even one under threat. And generally, the alphabet’s right in ranking performances.
Alex: Alex Gatehouse.
Ben: James Scott.
Cerys: Emily Stills.
Deacon: Robin Kirwan.
Elliott: Adam Timms.
Fagan: Alistair Brooks.
Director: Sebastian Rex.
Designer: Claire Winfield.
Lighting: Sam Smallman.
2009-07-02 14:57:45