So I’ve been away (or busy maybe) for a bit and overwhelmed by the consistent requests for me to return to the blog. Not really, you’re all very discreet.
So I had a look around to see what’s rousing folk in the london theatre blog world. Goodness. Everyone loves/hates Attempts on Her Life, and quite a few people are excited by Anthony Neilson asking playwrights to be less boring and pretentious. Neilson is right to feel a bit I told you so about it, isn’t he? – he’s been being thrilling, imaginative and unpretentious for ages even when it wasn’t that fashionable. In fact his plays often seem a bit wilfully controversialist – it’s his determination not to let them be flabby that have saved them. I bet his old mucker Lisa Goldman wishes she had a few more like him to programme into Soho. I take a bit of an issue with his dislike of the pretentious though. You absolutely need to balance it and be tough on yourself, but pretentiousness has a lot to offer, in that it represents our urge to try out being something we’re not. Which has a good pedigree in the theatre community. So if I (or Chris Goode) pretend to the assurance of Robert Wilson in making a piece, it very likely benefits the assurance of the piece – Wilson is an awesome role model in that respect. If we copied his actual style it would be less successful. Shopping and Fucking is a pretentious play because Ravenhill’s pretention to be a voice for the commercialised generation blended well with his hard-working well-made play structuring. It’s not as amazing and pure a source of innovation as those that come from necessity (“the only way to make this show work is to do it underwater/in the air/spoken half in Uzbek”) but it’s undeniably part of the psychology of every theatre maker, who is always pretending/trying to be less like (say) David Hare and more like (say) Anthony Neilson. All our best playwrights and theatre-makers are a bit pretentious. And they’re good enough not to let it get out of hand.
Attempts on Her Life is really part of the same debate. It’s not boring. If you’ve got the balls (apparently unlike some of the walker-outers at the whatsonstage board) then you can fight the deluge of images and struggle to draw your conclusions from Crimp and Mitchell’s uncompromised circus of situations and angles. For what it’s worth, I thought that the permanent presence of the (thrilling) camera work gave it feet of clay. Crimp’s scenarios are about a lot of things, and there were times when the production seemed to filter all of the text’s potential through a limiting lens: I know that we use the media to shape lots of our understanding of life – but it’s not the only way I understand people. It was also hard not to feel that the camera action was clumsy set next to the overwhelmingly detailed (and beautiful) choreography of Waves. That said, I wasn’t much taken with the content of Waves – it was pretty much pure theatre to me – and am much more interested by the content in Attempts. The focus on media gave the text a fierce clarity of purpose which it might not have in some of the more catholic productions – and it seemed conscious of its status as not the only ever production. I think that’s what I like most about Mitchell’s shows now – this is her version and it’s not the end of the story. Clearly Hytner has made a good choice in continuing to invite her back to be a standard bearer for intelligent experiment in his programme. How great to be watching the rock band section thrash away in the bland old Lyttelton, with memories of the (equally effective but totally different) lush underscoring of Therese Raquin still in memory. I’m suspicious of encore’s effort to turn it into a polarised fight between the backward lithic critics and the fiery knights of progress – it’s only a show, it’s got problems – but I was much more appalled by the people who seem to be offended by it. Blimey, fogeys, it’s a national theatre, not just yours. I mean, sure, be offended by Jerry Springer if you don’t believe in freedom of speech and creativity (and expose yourself as a censor). But what’s to be offended by in a play that has a good go at discussing perception and reality, in a production that actually makes it easier to take something from? does your world not include rock and pop music, police progammes and late review and crappy films and adverts and all the rest? Discuss that some of the media satire was pretty limp (and Mitchell isn’t that assured as a film director..) engage with what’s in fornt of you. These people seem not to be interested in content – there’s plenty to get their (presumably gritted) teeth into in both staging and text, nor in theatre – theatricality – they would be having a lovely time. If they think theatre is just character acting and relationships then they probably need to be more selective when booking seats.