Theatre Review: The Wild Duck at The Almeida Theatre for UnderPinned.co

Nested in Islington’s prestigious Almeida, esteemed Director/ Producer/ General Golden-Child Robert Icke’s grizzly adaptation of Henrik Ibsen’s 1884 play Wild Duck is nothing short of astonishing

CW: Graphic violence

-Words by Elinor Potts

The character of Gregory Woods (Kevin Harvey) greets us at the start of the play, a tortured sage who misanthropically lectures on the play’s central preoccupations, promising that “This is a true story”. After meeting his old school friend, James Ekdal (Edward Hogg), we quickly discover that the Woods and the Ekdals are tethered through a catalogue of complex relations which bind the two families. Furthermore, the memory of prison-time spent by James’ father due to Charles Woods’ financial scheming, still stings.

We return home with James to his pokey studio apartment where Icke paints a quaint portrait of familial love. James’ wife, Gina (Lyndsey Marshal) and their cherished child, Hedwig (Clara Read) are warm and chirpily optimistic despite living on the breadline with James’ father, Francis Ekdal (Nicholas Day). To escape the banality of his old age, Francis retires to the attic where he indulges in hunting sessions in a makeshift forest of old Christmas trees. Here lives the eponymous wild duck, and Francis recounts its remarkable backstory to his granddaughter, coaching Hedwig in the importance of survival in the face of adversity. Gregory Woods listens on, and we soon learn of his mental illness as his deliriously prosaic speeches become increasingly absorbed in self-hatred. He babbles, “I have something I need to do here, which is to open their eyes”.

The expositional first act feels tender and Icke’s renovated dialogue from 18th century Norwegian-Danish is perfectly matched with an excellent cast who deliver rousing and thoroughly real performances. A microphone is strategically used throughout the play to deliver glacial asides, as well as marking ‘END SCENE’; a seemingly innocent creative decision used to fiendish effect in the play’s final scene.

The second half mercilessly lifts the veil of domestic cosiness and revels in the anarchy. The security of love is erased brick by brick and as reality dissolves, so does linguistic and semiotic certainty. As Gina finally admits, “I don’t know if I love you, I don’t know what other people mean when they say those words”. Before the final bloody blow of the denouement, Gina and James embrace and slow dance to a gentle ballad. As the ceiling of the Ekdal’s home recedes from view, we are given a momentary glimpse into the utopian realm of the wild duck’s home, a fantastical vision of Roald Dahl-esque childhood escape with callous calm. Icke’s incredible production of Wild Duck warns us of the power that ill-intended fiction can wield over reality. Like walking away from a car crash, you will leave the auditorium with your ears ringing.

The Wild Duck runs at The Almeida Theatre until December 1st. Tickets are available here.

Review, Stories at the National for UnderPinned.co

https://underpinned.co/2018/11/theatre-review-stories-at-the-national/

Writer Nina Raine attempts to tackle a delicate subject with Stories, but fails to find a way to contribute anything new to the discussion around single parenthood

-Words by Elinor Potts

On face value, Stories at the National Theatre is a play which deconstructs the myths around single motherhood and archetypal notions of family. It is a sad reality that Stories achieves none of this and is propelled by convention and the tiresome thesis that Mother + Father = Good, Single Mother = Bad, Gay Parents= Fickle and Absent.

The play follows the story of hapless late-thirty-something singleton Anna (Claudie Blakley), who, after a string of unsuccessful relationships in her twenties, settles down to have a child with her boyfriend who gets cold feet shortly before going through with IVF. She is an upstanding actress with a strong sense of family, Christian values, and a divine plan which has her firmly placed at the centre of the universe. God’s presence in the play lends to the idea that Anna’s fate is predestined and is overtly referenced as Anna’s brother muses, ‘If God does exist, I don’t think he’s the plot- I think he’s the lighting’, whilst the characters are lit from a single stage light.

There is a cyclical narrative where we first meet the prospective sperm donor, a bumbling artist in baggy clothes, who anxiously offers Anna a bunch of inappropriately symbolic chrysanthemums. Soon, we are confronted with the boorish conservatism of Anna’s father (Stephen Boxer), a shouty, self-involved old man who is particularly fond of cheap racial stereotypes and sperm jokes (‘West Ghanaian… Israeli… sounds like a sheepdog!’). Anna is also disheartened by the bank’s inability to appease her racial preferences and asks, ‘Who’s going to stop me going into a barbershop in New Cross and having a one night stand with a Nigerian?’

The outmoded humour quickly becomes tedious, albeit, with an excellent, multifaceted performance from Sam Troughton as the various romantic interests including a drug-dealing DJ, a misanthropic Northern Irish actor, and a tea-brewing Tory, who, despite not wanting to become a father, romanticises the notion as he pontificates, ‘I was actually reading Knausgaard… the passage where he describes the birth of his child… I was in tears.’ Anna’s father champions a narrow-minded perception of parenthood which discredits any female experience and bemoans Anna’s biological ‘enslavement’, in, “I find it frustrating that women have this biological urge to sign themselves up to what is essentially slavery.”

What is truly frustrating about Stories is that it had the potential to be so much more than it is. Rather than opening up a conversation around unconventional family constructions, it is a moralistic fable which upholds the presence of mother and father above all else. A throw-away secondary narrative flashes back to the character of Natasha, Anna’s landlady (Margot Leicester) during Anna’s footloose and sex-filled twenties.

It’s crushingly cliched, as Natasha confesses the ‘regret’ of her miscarried children whilst on her deathbed. Later, a singular account of an unhappy sperm-donor child in the third act acts as the play’s master narrative which condemns the conception of Anna’s child through sperm donation as ‘wrong’, due to an inevitable ‘identity crisis’. Ultimately, she returns to the avenue of ‘natural’ conception with a man she hasn’t met on the internet and the story concludes as we see Anna smiling knowingly to herself, thumbing a plastic container of spunk.