So what is theatre exactly?

Theatre should be real, says Alexander Zeldin.

All theatre is artifice, says Paul Hunter.

I paraphrase both, but this is the essence of the thinking of two talented theatre practitioners I’ve come into contact with recently.

Alexander Zeldin is the writer/director of Love, currently selling out in the Dorfman at the National Theatre. He was talking to Samira Ahmed at a platform talk before the show a couple of days ago. Love has received five star reviews from virtually everywhere, so he’s a man to be taken seriously.

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Alexalander Zeldin, photo by Marie Eisendick (offwestend.com)

Paul Hunter is the artistic director of theatre company Told by an Idiot, which has been in existence for over twenty years performing around the country and the world. He was talking to students from the SUNY New Paltz at a workshop held at RADA yesterday.

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Both comments are true of course if not the whole picture. It’s what makes theatre what it is. Paul Hunter likes to create the unexpected and spontaneous through the use of impossible games. Watching a group of people clapping in rhythm only gets really interesting when the rhythm starts to go out of control. You can see what Hunter is getting at when he explains that the best comedy springs from things going wrong.

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The clapping game that goes wrong

But I can’t agree when he says reality belongs to television not theatre. Watching LOVE at the Dorfman is a painful and often boring experience because we are living with the characters on stage in real time. We watch them eating in silence. We watch them washing up (those who could see it). We experience their tedium, their boredom. If this was television we’d probably switch it off and look for something more comforting or entertaining.

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Janet Etuk, Anna Calder-Marshall and Nick Holder (nationaltheatre.org)

Love has been rapturously received by the press, and I would not want to disagree except to point out, with some emphasis, that anyone sitting in the side seats in the upper level, which comprises about a quarter of the total audience, only gets to see two-thirds of the play. Anything happening on the sides of the stage, which includes the sink and the toilet and a couple of upstage rooms, is completely invisible if you are sitting on that same side. Why this should be considered acceptable in a newly-renovated and reconfigurable theatre like the Dorfman is a puzzle, to say the least.

That said, the performances are astonishing across the board. And the most touching moment, which produced audible sobs throughout the audience and happens right at the end, is totally theatrical.

Patsy Trench
London 2017

patsytrench@gmail.com

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