C soco, 6 – 30 August 2010
Reviewed for the Oxford Times
Mikhail Bulgakov’s The Master and Margarita is a dense and complex novel, layered with parallel interconnected plotlines and saturated with theosophical intrigue; so as Rowena Purrett acknowledged in her review earlier this month, to pare it down to 90 minutes is an achievement. Somewhere between Oxford and the Fringe, OUDS have shaved their production down to an even more festival-friendly 80 minutes.
As well as paring down the content — the specific scenes, events and plotlines — OUDS boil down the whole work to a more manageable scale, in the process intensifying some flavours and losing others almost entirely. Where Bulgakov’s novel is a sweeping satire concerned with entire classes and communities, the OUDS production focuses closely on the individual characters: a more dramatic approach, but one that reduces the scope of the themes and ideas from a communal to a capital level.
It’s a shame to dampen the story’s potential for wide-ranging social commentary, especially as Bulgakov’s criticisms of Moscow’s atheist society still apply to ever- larger portions of the Western world; but on the stage, individuals are easier to engage with emotionally than whole societies.
What the production does communicate well is the bleak, decaying atmosphere of the benighted city. The performance space is part of a half-derelict building, all exposed brickwork, cold stone and cracked plaster; a boon for set designer Jessica Edwards. It’s also spacious as festival spaces go, but director Hoehn concentrates most scenes into as small an area as possible, highlighting the isolation of characters outcast for expressing their beliefs.
The performance is an odd mixture of styles. Brecht and Commedia dell’arte are both identifiable influences, and expressionistic movement and dance intrude on relatively naturalistic dialogue; though in a story about the invasion by the supernatural of a wilfully banal society, such intrusions feel thematically appropriate enough not to jar or distract in the least.
Adapted by Raymond Blankenhorn and Max Hoehn
Crew includes Max Hoehn (director), Jessica Edwards (set design), Anouska Lester (costume design), Rachel Beaconsfield Press (make-up design), Eli Keren (lighting designer), Stephen Poole (lighting design), Rosie Hore and Harriet Randall (choreographers)
Cast includes Cassie Barraclough (Margarita), Joe Bayley (Pilate), Raymond Blankenhorn (Ivan/Matthew/Baron Maigel), Ollo Clark (The Master), Bella Hammad (Babushka/Natasya/Praskovya/Natasha/Hella), Max Hoehn (Woland), Jonnie McAloon (Yeshua/Clown), Matthew Monghan (Behemoth), David Ralf (Koroviev/Berlioz/Bengalsky)
- Read Laura Ennor’s review for The List
- Read Graeme Strachan’s review for the British Theatre Guide
- Read Margarita Semsi’s review for ThreeWeeks
- Read Tony Challis’s review for Broadway Baby