Deathwatch, Printroom at The Coronet
Apr 18, 2016 12:10:18 GMT
mallardo, Steve, and 1 more like this
Post by TheatreDust on Apr 18, 2016 12:10:18 GMT
I saw this on Saturday evening and loved it for two reasons.
Firstly, the venue. Maybe others know about this place, but it was my first visit. It felt like a bohemian glory - clearly still lots of renovation to do, but that added to the charm of the place. At the moment the main auditorium has had a temporary false floor installed across the bottom of the dress circle void, which was then used as the stage. The audience were sat in what, architecturally, is the dress circle, but acted as stalls because of the temporary floor. I understand that they've had problems keeping the place warm during performances, so every seat has it's own blanket! (Not that they were needed on Saturday - it felt fine to me). The original stage area at stalls level is currently being used for a bar - atmospheric, with amazing decor and rugs scattered around to make it feel welcoming.
I was completely captivated by the play itself. I'd not come across it before, but it was the first play written by Genet and in the same year that he wrote The Maids. Based on his own experiences in prision, it features three main characters who are in a jail cell where one of them is a few months away from execution. This particular version was described as a 'world premier' because it was based on a new translation by David Rudkin which was taken from Genet's final reworking of the play in 1985 (having originally been written in 1947).
The staging was simple, but suited perfectly. A single, square, barred 'cage' with excellent sightlines from all seats I should imagine, outside of the cell there was a backdrop of lavishly contrasting red curtains that suggested a circus-like setting. I thought it was incredibly well lit (and later realised that the lighting designer was David Plater, ex of the Donmar) and there was good use of sound.
The three leads (Tom Varey/Joseph Quinn/Danny Lee Wynter) were really strong - playing against one another well. They were supported by Emma Naomi who covered various roles male and female; it was only this aspect that jarred slightly for me - I felt they'd have been better off with an additional male performer to cover 'The Watch' (i.e. the prison guards). The story demonstrates the ebb and flow of power, influence and sometimes attraction between the three prisoners. It simmered with tension throughout.
If you enjoyed The Maids (or hoped to), then I highly recommend this. Oh on a final note: the £4 programme features the complete script - a bargain.
Firstly, the venue. Maybe others know about this place, but it was my first visit. It felt like a bohemian glory - clearly still lots of renovation to do, but that added to the charm of the place. At the moment the main auditorium has had a temporary false floor installed across the bottom of the dress circle void, which was then used as the stage. The audience were sat in what, architecturally, is the dress circle, but acted as stalls because of the temporary floor. I understand that they've had problems keeping the place warm during performances, so every seat has it's own blanket! (Not that they were needed on Saturday - it felt fine to me). The original stage area at stalls level is currently being used for a bar - atmospheric, with amazing decor and rugs scattered around to make it feel welcoming.
I was completely captivated by the play itself. I'd not come across it before, but it was the first play written by Genet and in the same year that he wrote The Maids. Based on his own experiences in prision, it features three main characters who are in a jail cell where one of them is a few months away from execution. This particular version was described as a 'world premier' because it was based on a new translation by David Rudkin which was taken from Genet's final reworking of the play in 1985 (having originally been written in 1947).
The staging was simple, but suited perfectly. A single, square, barred 'cage' with excellent sightlines from all seats I should imagine, outside of the cell there was a backdrop of lavishly contrasting red curtains that suggested a circus-like setting. I thought it was incredibly well lit (and later realised that the lighting designer was David Plater, ex of the Donmar) and there was good use of sound.
The three leads (Tom Varey/Joseph Quinn/Danny Lee Wynter) were really strong - playing against one another well. They were supported by Emma Naomi who covered various roles male and female; it was only this aspect that jarred slightly for me - I felt they'd have been better off with an additional male performer to cover 'The Watch' (i.e. the prison guards). The story demonstrates the ebb and flow of power, influence and sometimes attraction between the three prisoners. It simmered with tension throughout.
If you enjoyed The Maids (or hoped to), then I highly recommend this. Oh on a final note: the £4 programme features the complete script - a bargain.
