Rotterdam, at Nuffield Theatres Southampton, explores an inspiring story of a young transgender man, firstly illustrating the still prevalent social stigmas, but also demonstrating the impact coming out as transgender can have on your family and loved ones. In this case, your girlfriend, who always believed she was gay and is now unsure what this makes her. The play perfectly balances comedy and tragedy leaving me, an audience member, totally moved and proud to be a millennial. The plot, written by Jon Brittain, followed a really interesting perspective and truthfully was a story like none other I have seen on stage.
The story, set in Rotterdam, takes place mainly in Alice’s flat. Within the box set, there were 3 parallel doors on the upstage wall allowing a new depth and perspective to the set creating the illusion of scene changes and extra room. It also allowed split stage scenes which were particularly influential in this production as much of the play focused on secrecy. The split stage allowed two separate scenes to coexist adding a depth and insight for the audience. This dramatic irony captured the pain and turmoil that accompanies gender and sexuality and illustrated how painful and difficult it can be to express yourself to even your closest friends.
For me, it was Lucy Jane Parkinson’s portrayal of Fiona and then Adrian which made the show as uniquely brilliant and poignant. Her ability to develop her emotions from anger to all-encompassing love and finally to hysterics was seamlessly articulated. She captured the awkwardness and comedy in every moment but also in her lowest moment; she had me in hypnosis, and I found I was crying along too.
Entering the theatre, intrusively loud Dutch music was blaring and this was critical in creating an atmosphere. Immediately, it broke down the heaviness in the room and filled it with a lighter air. The lighting was used effectively to display a stylised and individual set design. LEDs were used within the walls of the box set during transition scenes, whereas, overhead warmer lights were used to create “real life”. The LEDs used were mainly pink and blue but there were also 5 randomly placed coloured lamps which were featured in every scene. Two chairs and two blocks were also incorporated in every scene, being used to create different set pieces such as a bar or a table. The set was interesting and reminded me of contemporary university halls. It also included two mirror wardrobes which could also be used to crawl through. These were used in the scene on New Year's Eve in which Leilani and Alice go out onto the frozen canals. This image was created with the use of small blue LEDs and multiple smoke machines. The effect was almost ethereal; Ellen Parry and Richard Williamson’s creation is magical.
My only criticism of Rotterdam would have to be the slightly predictable story-line. There was more than one “big reveal” which was obvious enough to guess. This was not a problem; however, I feel it could have been slightly more exciting had it not been so anticipated. Saying this, some of the most compelling dynamics were those created by the obvious plot line.
This play captures the very essence of the theatre. The best plays are the ones that you are still thinking about two weeks later. This is one of those plays. Everyone should watch Rotterdam!
Reviewer - Grace McNicholas
on - 6/6/19
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