UNDERNEATH THE LINTEL. To 14 April.

London

UNDERNEATH THE LINTEL
by Glen Berger.

Duchess Theatre To 14 April 2007.
Tue-Sat 7.45pm Mat Wed & Sat 3pm.
Runs 1hr 20min No interval.

TICKETS: 0870 890 1103/0870 040 0082.
www.underneaththelintel.com/www.nimaxtheatres.com (£2 booking fee).
Review: Timothy Ramsden 12 February.

Showing the leap from library-fine to religion can’t be contained underneath the lintel.
It ought to be the safest place to stand: underneath the lintel of your door. Watching the world go by. It suits the character we meet in Glen Berger’s play. So anonymous he’s known simply as a Librarian, his routine never extended beyond imaginary voyages in an atlas.

But this Librarian’s doggedness was sparked when he came across a Baedeker’s Guide returned 113 years overdue. His journey of more than a thousand miles began with small, investigatory steps, ending up involving him in legend and, despite the initial motive of recovering the library fine, trouble with his employer.

Richard Schiff’s stolid Dutch Librarian talks us easily into this with a mix of deliberate humour (unfunny) and (often comic) seriousness. Meanwhile, Berger provides a host of objects to give a documentary sense to the ever-extending journey, from a tram-ticket to a pair of trousers.

Incredulity creeps in as the theatrical effects begin. Adam Cork’s music starts with insidious unassertiveness. Paul Anderson’s lighting moves from single-state lecture-room generality to focus for stretches on the Librarian. Later, Jan Hartley’s projections splatter the walls with images, including an impressive widening-scope crowd-scape.

By when, the search - which Schiff’s stolid manner has made interesting if not quite credible - reaches the awkward moment when the author has to show his hand. Mystery or detection writers especially need to convince us that the path they’re treading isn’t predetermined. It’s comparatively easy in first-halves; it’s when solutions have to sound convincing they have to rise to the twin challenges of being believable and interesting.

In feelgood line with the US times, Berger sets out apparently to provide evidence God exists. He does this through the myth of the Wandering Jew, the most unchristian legend in Christianity (the Jew, intimidated by authority, refused help to the cross-bearing Jesus and was cursed to wander the earth forever; it hardly fits Jesus’ “Father, forgive”).

Substantiating a religion through a legend is an unsteady proposition. Without this, all that’s left is ambiguous talk about big things, and a character portrait. It’s well-played but, for all the words, has little to say.

Librarian: Richard Schiff.

Director: Maria Mileaf.
Designer: Neil Patel.
Lighting: Paul Anderson.
Sound/Composer: Adam Cork.
Projection Designer: Jan Hartley.
Costume: Katherine Roth.
Associate sound: Steve Ellis.

2007-02-16 16:24:40