I had fond memories thinking of my own acting journey starting out with the Clwyd Youth Theatre whilst I headed over to Mold in North Wales to watch Tennessee Williams’ Orpheus Descending. The play opened on 15th April at Theatr Clwyd and runs until 27th April. I can say with heartfelt passion that this Menier Chocolate Factory and Theatr Clwyd co-production certainly packed a punch and had me leaning in for more and more from my comfy Welsh theatre seat.
“I had your child in my body the summer you quit me”
Once I set foot into Theatr Clwyd my first thoughts were taken immediately to the space itself and how much it had grown and developed over the years, whilst still keeping its original charm. It indeed had been a pivotal place with my own performing there as a young and aspiring actor and I could tell straight away that this was a theatre that means business! The production shall be transferring down to the Menier Chocolate Factory, an off-West End theatre in an intimate space, for an 8-week run from 9th May. The popular London theatre as its name suggests is actually set in an old chocolate factory (I have lovely visions of chocolate aromas still in the air) and produces its own plays, musicals and comedy.
“I’m just a lewd vagrant”
Theatr Clwyd’s very own Artistic Director, Tamara Harvey is directing this co-production and is one of the UK’s most respected directors. I was fortunate enough to have a little chat with Harvey, a person in the industry I admire greatly. She quite clearly has a determined focus and which she has brought in abundance to this piece of powerful theatre. Williams himself was one of the most well-known American playwrights of all time, and his plays are renowned for their thought provoking, psychological topics and themes around happiness, cruelty, love and tenderness. There is also touching humour to be had in Williams’ work and I eagerly took my seat to see how this production would handle all these differing emotions. It’s a reasonably long first half at 1 hour 40 and as Harvey herself said to me, “ Buckle up and get ready for the ride!”
Without giving too much away, in Orpheus Descending, a young charismatic musician, Val, played by the very alluring Seth Numrich, descends on a small, repressive Southern town and forms a relationship with a passionate, yet unfulfilled woman, Lady, played by Hattie Morahan. She is trapped in a bad marriage and has somewhat of a heart-wrenching past. This production exhibits and tackles many of the playwrights typical subjects head on: loneliness and desire, sexuality and repression, the desperate longing for freedom. It touches on suppressed feelings, passion, and all this in a sometimes harsh, cruel and bigoted world. There is also violence that as an audience you can feel bubbling away under the surface. The two leads played their parts beautifully. Numrich a charming and seductive Val, who I’m sure stirred the souls of a few audience members with his almost dangerous charisma. Morahan I felt really wore the skin of Lady and I believed in her, along with the inner torment and unfilled passion.
“How do people get to know each other”
The play is wonderfully poetic and with many tender moments of humour. I, along with a packed out audience were fully invested in the story, which is quite a wordy one and you do have to fully commit to some active listening. The Deep South accent work has to be commended from the actors and I’d say was pretty faultless throughout, high praise for Penny Dyer and Nick Trumble, the voice and dialect coaches. There was an atmospheric mood throughout. The set design although simplistic in its nature was striking and for me enough. Perhaps a personal thing, but I do prefer a naturally stylised set, no frills, where I can fully concentrate without distraction on the story in hand, however what made this design from Jonathan Fensom even more effective was the clever use of mood lighting and the wonderfully emotive musical and sound choices. I especially loved the night-time crickets that helped evoke my feelings of being transported to another world. Nothing overbearing, and credit to Gregory Clarke and Simon Slater for their musical input. The other point I would make on the set is that the floor level stage did seem quite vast, there was a lot of open space out there and with the powerful intensity of some of the scenes I wanted the space to ‘close in’ on the actors almost, especially the duologues to give them even more power. I think this production would also lend itself perfectly to an intimate, almost studio style space.
The whole cast connected with each other brilliantly, and for me there wasn’t any one actor who was the weakest link. They often entered through the exits/entrances in the auditorium as they made their way up and down the stairs. I think a good decision as you have a great appreciation of being a part of the story, you are up close and personal with the actors which is exciting and always keeps an audience on their toes. Other stand-out performances for me were from Valentine Hanson, who plays Uncle Pleasant who’s energy and stage presence was electrifying at times. Although not a huge role, he was integral to the whole performance and such an interesting actor to watch. Also Jemima Rooper who played Carol Cutrere, a wild, feisty little thing and who performed her role (as an aside one that has always been on my own wish-list to perform) with great passion and heartfelt tenderness. Even as a wanton woman it is indeed that softness, the need to be touched and held that deep down she craves. For me a great tragic character to play. I could feel her pain, her brokenness, her anguish and my maternal instinct kicked in, as at times as I just wanted to scoop her up and take her away and hold her myself. A big shout out for Rooper from me!
“A man’s weight on you would break you like a bundle of sticks”
The rest of cast were all hugely outstanding in their own rights and I would strongly encourage a visit to see Orpheus Descending at Theatr Clwyd, or indeed when it transfers to London at the Menier Chocolate Factory. I am confident that you’ll be glad you did.
Reviewer - Mary Fogg
on - 18/4/19
Is a superb performance from all involved. Well wofrw seeing one of Williams' less familiar works.
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