Theatre has become a definite new interest. I prefer going to the theatre now than most movies. So, when another chance had arisen to take advantage of the National Theatre Live at Portland's Third Rail Repertory Theatre, I was there.
The National Theatre's production of The Curious Incident of the Dog at Night-Time is another example of amazing stage work that is actually taking place in Britian. Based the on the 2003 novel of the same name by writer Mark Haddon, the piece expertly adapts the first-person point-of-view book to the stage. I must, unfortunately, admit that I have never read the book, but knowing the past production value of the National Theatre and being familiar with a couple of the actors in the play I guessed that I would not be disappointed. I was not.
Picture from a www.timeout.com review, which gives 4 stars to the piece.
The Curious Incident, as I'll refer to the play from now, had a wonderful stage presence and design. In contrast to the large main stage used in Frankenstein, this production was played out on a decidedly smaller, more intimate stage, which made me feel at bit closer to the main character, Christopher Boone. The rest of the company not only acted as other characters, but at times a visual representation of Boone's unique perception of the world (played by Luke Treadaway) around him, as he reacted to the bustle of the train station or simply lying on his bed, takes the audience to his physical space and limitations.
The set was simple, yet ornate. The only objects on the stage where white boxes, but projections and Treadaway's chalk drawings gave a new dimension that I think could rival the most detailed pieces. A favorite scene of mine took place on the train. Boxes are set up in rows, as if seats on the train with actors sitting on them when all of the sudden they move to an L-shaped position, lying on the floor next to their boxes. The POV shifts and suddenly they are, once again, sitting in their seats with a projected scenery speeding by. I don't know how the actual audience viewed it, but viewing it on the screen, with a changed view was quite impressive. Another scene featured the same technique having Boone (Treadaway) make his way down a projected escalator. The stage was at could be a train, a station, a neighborhood, or even Boone's home by the change of lighting and projections.
This is the first time I had seen actor Luke Treadaway, but after this performance I am sure he has a great career ahead of him. His interpretation of Christopher Boone made someone like who had never read the book and come to the play a bit green, leave the theatre feeling like that had met someone genuine and real. And, it was fun to see my favorite Mrs. Hudson, Una Stubbs, break out from the confines of Baker Street in this play.
After seeing the play, I do want to read the book for myself soon. For even though Haddon never claims to be commenting on autism or austim-spectrum disorders, it is clear that Christopher lives with one as do many others in our society. I think that getting a glimpse into their view and experience in life makes the play and book exceptional works.
View of Stratford theatre where I saw Taming of the Shrew in 2008
One of the things the British are known for is amazing theatre. I was lucky enough to experience it for myself when I went to Shakespeare's birthplace of Stratford-upon-Avon during a visit to England in 2008, and it will be an experience I will never forget.
The Royal Shakespeare Company, or RSC as it is commonly called, is likely the most recognizable company, but London's West End is the equivalent to New York City's Broadway and the city has many of its own theatrical treats--a haven for theatre-going buffs. One of the best treats in London has to be the National Theatre. Settled beautifully on the South bank, the National has featured some of the most memorable plays in recent years. War Horse to One Man, Two Govnurs, and Frankenstein are just a few of the plays that have made a splash in one form or another. The National Theatre now broadcasts their best pieces to theatres around the world via National Theatre Live (NT Live). As a budding theatre-goer, I was particularly attracted to NT Live's Frankenstein. If I couldn't be in London, I figured a virtual screening of it would be well worth it. I was not disappointed.
The unique take on director Danny Boyle's (Trainspotting, Slumdog Millionaire, 127 Seconds) Frankenstein delivered an amazing interpretation of Mary Shelley's classic novel. The production's two leads, Benedict Cumberbatch and Jonny Lee Miller, alternated the roles of Dr. Frankenstein and his Creature each night throughout the production making it a different play each time:
Miller's Creature and Cumberbatch's Frankenstein
Last summer, I drove up to Portland to one of the only theatres in the state that wisely chooses to screen NT Live productions, the Third Rail Repertory Theatre. Being unfamiliar with the original novel or many screen adaptations, (my only Frankenstein was Gene Wilder's hilarious rendition in Young Frankenstein) I was a true novice and learned the story was actually quite different.
The story I saw was nothing to laugh at, but to genuinely contemplate. Decisions. Ethical, moral and even societal which are as true today as they were in the 19th Century. Questions of science and our role in creation hang in the background of the Creature's self-awareness and growth and subsequent chase to the end of the earth, and seemingly time, with his creator. In the first minutes, the stage is nothing but the Creature's flailing about in attempts at understanding the patterns of movement and learning to walk with no one to guide him. A blind man educates him and befriends him, but friendship is fleeting for the Creature, which leads him to commit his first act of revenge. Seeking a real companion, the Creature returns to his creator only to be disappointed and, once again, seeks revenge on he who hurt him. An act that leaves both Creature and creator seemingly bound to each other.
Miller's Creature was innocent and childlike. In fact, one great thing about the virtual screening was a behind the scenes intro where the actors explained their inspirations for their performances. Miller pointed out that he found inspiration from his toddler; therefore, his movement and speech were indeed childlike allowing me to feel sympathy for the character as I saw my own young niece in his honest and unblemished Creature. The reactions of society to his seemingly unnatural state made him an altogether different being. Therefore, it made for an amazing contrast to Cumberbatch's Frankenstein.
As a fan of BBC's Sherlock, Cumberbatch's Victor Frankenstein was, for me, a mirror image of the great detective. That's not a bad thing, in fact, it's a performance that's full of vigor and madness, but also humanity--particularly at the end. Victor Frankenstein and Sherlock Holmes could almost be seen as similar creatures. Both of them locked into science to do their work and ground their beliefs. So, though it was an excellent performance, I felt like I had seen it before and, ultimately, the combination of Miller's child-like Creature and Cumberbatch's Holmesian Dr. Frankenstein left me feeling like I had watched an odd episode of Sherlock, instead of a piece of theatre. In the end, I enjoyed it, but I was left wondering how the other version turned out and how I would have reacted to it.
A view of the South Bank and the
National Theatre worthy of Frankenstein.Photo courtesy of a friend in
London, Heidi Ober.
Cumberbatch's Creature and Miller's Frankenstein
Last weekend, I had the good fortune to see that other version. After a hearty meal at one of the few Brit pubs in town, I was able to go to an encore viewing of Frankenstein via NT Live and Third Rail Repertory Theater. If I had to choose between one of the two as the better piece of theatre, this version would be my pick. The story was exactly the same so I did focus more on the brilliant technicalities of the staging and lighting. Unfortunately, a virtual screening does not do the scenery justice, but I could tell that the bunch of simple strings of light bulbs, a modern soundtrack, and the sparing use of scenery set an unforgettable stage. Not to mention a turning and raising piece of the stage! The technical aspects benefited both versions and was an added dimension that I'd never seen in a play.
Cumberbatch's Creature was exquisite. That's the only word for it. A completely different interpretation and performance to his co-star which seemed to make the play tell a different, yet familiar, story. Cumberbatch revealed, in the behind the scenes intro, that his interpretation of the Creature came from adults who had to re-learn movement and speech a second time in contrast to a child learning them for the first time. The difference in the two performances was evident in the first scene. I was grateful for the close camera angles as Cumberbatch's body twisted and writhed in the attempts to learn and master movement (he'll make one heck of a Smaug!). In contrast to Miller's speech pattern which, much like a child, seemed to improve upon more practice, Cumberbatch visibly continued to struggle with speech even after learning to read. Even with the role of the Creature switched the themes and questions posed were still evident. The societal outcast and abandoned creation of Frankenstein was even more sympathetic this time around due to the continued clear and striking difficulties manifested by the Creature.
Miller's Victor Frankenstein was a calmer, more controlled version in my eyes. His dedication and belief in his work was still there; however this creator appeared to be more frightened and unsure of what to make of his creation, as opposed to the wild, fast-talking Frankenstein portrayed by his co-star. All in all, my preferred version of play. The RSC released a recorded version of Hamlet starring David Tennant and Sir Patrick Stewart on disc and I have enjoyed it despite not being able to see the original. If the National Theatre were to do something similar, they would already have one sale! And, if Frankenstein ever gets to Broadway, as War Horse and One Man, Two Guvnors have done, a trip to New York may be warranted.
Both versions of Frankenstein were worth an outing for this theatre-goer and I wouldn't have missed any of them. I am only slightly disappointed I couldn't be in the London audience last year.
