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.
Warning: this play contains scenes of a disturbing nature, strong language and nudity. From its successful publicity, Thérèse Raquin promises to shock audiences with its hard-hitting and scandalous content. But does the sincerity of the production support its notoriety?
There is no doubt that Thérèse Raquin is an ambitious play to put on. In a whirlwind of lust, murder and revenge, Laura Horton stages Zola’s original story in a modern Parisian flat, rather than the conventional 19th century setting. After the two lovers Thérèse and Laurent (played by Catherine Bennett and Richard Biggs) murder Thérèse’s husband, their lives quickly unravel into a state of obsessive guilt, breeching on insanity. Appearing semi-nude in the drama barn in late November is never going to be easy; but Catherine Bennett appears unfazed as she delivers a convincing performance as the cold hearted Thérèse. Brilliantly cast as the dark haired usurper, Richard Biggs unfortunately did not live up to his looks. Rather than shocking the audience with a raunchy opening scene, the couple lacked the fundamental chemistry needed to make their actions believable.
Ed Lewis Smith’s wonderful portrayal as the brattish Camille made him instantly humorous and dislikeable as the stereotypical cuckold. Likewise Henri Ward and Gareth Prescott as Grivet and Michaud provided another successful comic friendship to dissipate the drama. Mention must go to Rebecca Darmody who undoubtedly carried the show with her persuasive and, at times, chilling performance as Mme Raquin.
Whilst Horton provides the framework of the production with some adventurous direction; the play, as yet, lacks the essential detail to make it completely convincing (note the empty soup bowls, wine bottles, fake flowers and mysterious bedroom location). Consequently, Thérèse Raquin, whilst certainly entertaining, occasionally lacked the integrity required to make it a wholly credible performance.
You must log in to submit a comment.
