Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
‘Her silence is her crime’. Sarah Goddard’s Truth and Words focuses on Daniel, a journalist, who desperately seeks inspiration to write a novel.
Assigned to investigate a murder case, he soon becomes obsessed with the enigmatic murderess, Alice, who refuses to speak and explain her actions. Daniel manipulates her silence to create his own version of events that led up to the crime. Disastrous consequences ensue as Daniel rapidly loses control of his imagination and is swallowed up into an ineluctable world of fictional madness.
The play raises interesting questions about the very nature of truth and the conflicting ways in which one can understand reality, and how this relates to one’s use of words and hunger for power. Unfortunately, Truth and Words failed to convey these ideas convincingly. As he grappled with fanaticism and obsession with Alice, Robert Kodama’s performance as Daniel was at times uncomfortable and over-acted, speaking too quickly and with excessive exaggeration. Although strong relationships between characters were often absent, great solo performances came from Sarah Waite as Daniel’s neglected partner, Liz, and Jessica Hill as the magnificently mysterious Alice was another notable highlight.
On a technical level, the play was strong. The black, almost bare setting, as well as haunting background music and eerie red lighting really worked to emphasise the mystery of the drama and to draw the audience in.
The way in which Truth and Words was told was innovative and interesting. Daniel would tell his different versions of the murder as they were acted out behind him and James Quelch’s narration of the action added to the idea of the characters’ powerlessness as they were swept up by events they could not control. Occasionally, however, as in the play’s ending, this did seem rather contrived.
For such a short play (approximately an hour), the development of plot and themes did not stand a good chance. However, Truth and Words did have moments of extraordinary potential and therefore illustrates the promise of student drama here at York.
Truth and Words is showing week 7 this weekend in the Drama Barn. Doors open at 7.30 and tickets are available on the door. Arrive early to avoid disappointment.
You must log in to submit a comment.
