Posts tagged ‘hill street’

27 August, 2010

Sub Rosa ****

Hill Street Theatre, 5 – 30 August 2010

Reviewed for the British Theatre Guide

There’s an interesting push-me-pull-you effect going on between Sub Rosa and the Masonic lodge in which it’s staged. The building’s warren-like layout and Masonic décor naturally occasion a kind of superstitious reverence over and above what the play alone can evoke. Meanwhile, the production imposes its own, slightly broader brand of eerie, haunted-house ambience on the place.

The production – initially framed as an educational guided tour – takes place after dark, and the building is dimly lit. The geometric carvings of the Masons are picked out in sinister reds and lilacs, as is the backstage apparatus of the theatre: reminding us we’re backstage, after hours, seeing things normally kept out of the public eye.

Tours leave every ten minutes, so each group is never more than one room away from the next, but the layout of the building is such that with precise stage management, the groups can be completely concealed from each other. Creaking footsteps and hushed voices, just out of earshot, feel like an intentional part of the production.

But even once it’s taken full advantage of everything the site has to offer, the production still has to make impositions in order to evoke its desired Gothic atmosphere. Hidden speakers pipe in creepy rumblings and the crackle of flames. Once space is flooded with fog. A stuffed fox leers, spotlit, from a baluster, apropos of absolutely nothing. To achieve its goals, the production engages and cooperates with this specific site up to a certain point, then, perhaps faced with a shortfall of spookiness, turns to more generic techniques that could create the same effect in any building.

Probably not coincidentally, deliberately appearing to be something you’re not is a major theme of the play. Six ghosts stationed around the building recount the tale of the Winter Palace music hall and the power struggle between its manager, Mr Hunter (a Mason) and the newest chorus girl, Flora – and it isn’t a tale for the easily-made-queasy. Nothing is reenacted, only narrated, but David Leddy’s writing and the six actors’ intense performances are graphic and distressing enough to leave more sensitive patrons bent double deep-breathing on the stairs between scenes.

It is, however, neither exploitative nor gratuitous in its brutality. The script is poetic, and every word and image – even or perhaps especially the gruesome ones – is included in the service of the story, not to cause cheap shocks.

Written by David Leddy

Crew includes David Leddy (director), Nich Smith (lighting design) and Graham Sutherland (sound design)

Cast includes Angela Darcy (Millie Merkeley), Claire Dargo (Ida McCracken), Isabella Jarrett (Miss Thorn), Isabelle Joss (Dillie Merkeley), Adam McNamara (Svaty Václav) and Benny Young (Angus MacNeil)

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11 August, 2010

The Call of Cthulhu ****

Michael Sabbaton in The Call of Cthulhu

Michael Sabbaton in The Call of Cthulhu. Image courtesy of the EdFringe Media Office

Hill Street Theatre, 5 – 30 August 2010

Reviewed for the British Theatre Guide

Talking to yourself is the first sign of madness, so what better way to reinterpret H P Lovecraft’s classic horror story than as a dramatic monologue?

The style allows the indescribable horrors of the ancient god Cthulhu and his sunken citadel, R’lyeh, sensibly to remain unrepresented except as oblique hints and references, subtly sketching silhouettes and squamous details in the audience’s imaginations – just as Lovecraft’s story does.

In portraying five very different men each driven mad by forbidden knowledge, Michael Sabbaton cycles from commanding through unsettling all the way to full-on disturbing, but is never short of captivating. Fog, dingy lighting and a superb soundscape – incorporating off-kilter alien rumblings and the many moods of water, from gentle rain to raging surf – conjure an atmosphere of oppressive, gloomy, creeping dread.

Anyone not acquainted with Lovecraft’s Cthulhu mythos will have to work hard to keep up with the plot, which writhes and recurves through a disjointed series of flashbacks and one-sided conversations. But as a meditation on madness and the impossibility of un-learning knowledge, however unpleasant – that is, as an attempt to capture the essence of the source material – The Call of Cthulhu is potent indeed.

Written by Michael Sabbaton

Cast includes Michael Sabbaton

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