The Noises, written by Jacqueline Saphra, invites audiences at the Old Red Lion theatre into Luna’s world on a night where it seems to be collapsing around her.
But, Luna is good.
Luna is brave.
Luna is going to fix everything.
Luna is also a dog.
The play, running at approximately 110 minutes in length, follows Luna through just a single night in her life. Locked in the basement as the noises from outside seem to indicate that everything she knows if falling apart, Luna tries to be brave and does what she can to protect her pack. That is, her owner, Ellie-girl and her mother and father.
The play began with a vivid audio-description of the set, which served not only to prove the Red Lion Theatre’s commitment to accessible viewings to all, but subsequently introduced us to the voice of Amy McAllister, or rather, Luna. As Luna described the room she was locked in, the set came to life. Set designer, Georgia de Grey, excelled in creating an onstage environment that is both familiar and eerie - tiled floor with the edges covered in dirt, a dog blanket, a dog bed, a giant door frame that hung suspended in the air. The stage was also slightly raised in one corner, making everything look distorted. Above the stage, a ceiling with a large crack running through it allowed light to bleed in. This is Luna’s world, only tonight it is different - it is warped by her fear. ‘There are no walls, only the ones you imagine’, and yet, as the darkness blocks everything else from view, the audience truly began to feel as though we were locked in the room with Luna.
Praise must also be given to McAllister, whose portrayal of Luna was nothing short of genius. There was nothing about her appearance to suggest she was a dog by means of costume or special effects make-up, however, this was totally unnecessary anyway as McAllister fully absorbed herself in the role. Her speech, her movements, her physicality all mirrored that of a dog. Once the performance kicked off, there was never a question in my mind that she was anything other than Luna. This characterisation was no doubt aided by Saphra’s creation of a vivid dialogue and speech pattern for Luna - her sentences were structured slightly differently to how we speak, words were misused or reinterpreted - but this only served to separate Luna from the ‘human’ playing her, it brought to life the way in which one might imagine a dog to speak.
As suggested by the title, the sound is incredibly important to the play and the soundscape created by Tom Parkinson is yet another exemplary element of the production. Whilst the production has only one performer, the audience hear the voices of the family who own Luna throughout the play - their arguments, their tears, their fear. We also hear the sounds of the world beyond the family, shouts, cries, sirens. Dogs, as we know, are more sensitive to sound than we are, so Luna’s reactions to them are sharper. She can sense the danger in the unfamiliar sounds, and warns the audience not to be afraid. Her reactions are instantaneous - and often physical, when Ellie plays loud music, she hides under her blanket. Her behaviour is again evocative of the way in which we see dogs behave every day. Though standing on two feet, she treads her feet lightly, imitating the padding of paws. Praise must again, be given to both McAllister and her director, Tamar Saphra for the careful construction and execution of the character.
Delivered in the style of a running-monologue, McAllister effortlessly captured the attention of the entire audience. Through fast-paced dialogue, intertwined with heartbreaking recollections about her past, McAllister managed to create a character which whilst physically animal, was relatable on a human level. The audience rooted for her throughout.
In short, the play was a truly exceptional peice of theatre, which not only allowed McAllister to showcase her immense talent for performing but subsequently showcased Jacqueline Saphra’s writing excellence. The play itself was longlisted for the esteemed Bruntwood Prize in 2017, and offers great hope for any production Saphra may plan to venture onto next.
The Old Red Lion Theatre, home to Luna from now until the 20th of April, has a rich history in bringing unique and thought-provoking theatre to London audiences since 1979 and is considered one of London’s most beloved fringe theatre venues. The theatre itself is a relatively small black box, which, according to Luna, can ‘fit around 60 humans in’, and below the theatre, itself is a small, yet extremely friendly and inviting pub. The Old Red Lion was the perfect venue for a production such as this, as the small audience allowed for a stronger bond between Luna and those watching her, especially as the production utilised direct address so frequently.
I would recommend this production to anyone who is looking to see something a little bit different (or maybe, anyone who loves dogs!). It is hilarious and heartbreaking at the same time, a truly brave and thought-provoking peice of theatre which caters to a wide range of audiences.
You’d be barking mad to miss it.
Reviewer - Abbie Grundy
on - 4/4/19
No comments:
Post a Comment