THE WHITE ALBUM. To 8 April.
Nottingham
THE WHITE ALBUM
by Michael Pinchbeck from an original concept by Giles Croft
Nottingham Playhouse To 8 April 2006
Tue-Sat 7.45pm Mat 1 April 2.30pm, 6 April 1.30pm
Audio-described 4, 5 April.
BSL Signed 31 March.
Runs 2hr 5min. One interval
TICKETS: 0115 9419419
www.nottinghamplayhouse.co.uk
Review: Jen Mitchell 22nd March 2006
An exciting, challenging, at times confusing journey exploring music, obsession and love, and how all three can inspire, influence and change people's lives.
The Beatles’ 1968 White Album underscores this play about the discs’ influence on two very different lives. Not just the music, but the Album’s shape and timings – playwright Michael Pinchbeck’s 30 scenes mirror the Album’s 30 tracks; each of the two discs lasts 46 minutes and each act is 46 minutes long.
The lead character, Miles’, obsession with the album means the whole of his adult life can be retold through its tracks. Interwoven with this is the story of Charles Manson and the horrific murders he was responsible for in the late 60s.
Running underneath these main plot-strands we witness – and hear – some of the events that lead up to the recording of the album – glimpses of the week the band spent in Rishikesh with the Maharishi Maheshi Yogi, some of the tumultuous scenes and the rare harmonious times during the recording.
The suggested likeness to the band is refreshing – there are no attempts at impersonation on stage. We hear Liverpudlian accents on recordings, enough for the audience to know who the characters are. Likewise with the songs; copyright being an issue we hear phrases and snatches of similar guitar riffs, making the connections ourselves.
The opening scene of Miles overdosing on drugs, is the story’s end. What follows are the images of his life he sees during his final death-trip. Initially it is difficult to follow the changing scenes and episodic structure (making a distinction between the main stories is not easy). This may have been Pinchbeck’s intention, exploring themes of coincidence and serendipity, but an air of confusion hangs over the early scenes.
As the piece gathers momentum distinctions between scenes and stories become clearer and characters easier to identify (always a potential issue in an ensemble piece where actors play a number of different roles).
Liam Doona’s open white set, with large movable flats, is beautifully theatrical, giving an intangible air of clinical institutionalism. Colours are introduced sporadically, track titles are projected, images, patterns and sounds evoke the era with a rush.
Cast:
Mark Dempsey
Rachel Edwards
Paul McGreevy
Daniel Rigby
Dean Stobbart
Phoebe Thomas
Andrew Turner
Director: Giles Croft
Designer: Liam Doona
Lighting: Richard G Jones
Sound: Adam McCready
Video: Arnim Freiss
Orchestration: John Morton
Voice Coach: Sally Hague
2006-03-30 09:56:31