I did not know this play. I had never before seen a play by contemporary South African playwright, Athol Fugard. It sounded like a comedy. I was in for a very real surprise!
Elysium Theatre Company is only a few years' old, and they don't pull any punches with either their choice of material or the direction thereof. The company continues to go from strength to strength, and it really is almost impossible to find anything to criticise about their productions. Personal opinions, subjectivity aside; this company simply can do nothing wrong!
Elysium Theatre Company is only a few years' old, and they don't pull any punches with either their choice of material or the direction thereof. The company continues to go from strength to strength, and it really is almost impossible to find anything to criticise about their productions. Personal opinions, subjectivity aside; this company simply can do nothing wrong!
Filmed and streamed online - just in case the theatre world was either still in lockdown or live performances were restricted / interrupted by further pandemic chaos- this was a very canny option. Over the last 15 months or so I have seen innumerable online theatrical offerings from Broadway and West End filmings to Zoom first-time amateurs having a go themselves. I swore never to watch another blasted piece of theatre on my computer once the theatres started to open again... and then immediately broke my promise by watching this. And I am extremely glad I did.
The play, a full two hours long, has only two performers, a brother and sister. The play starts with Johnny (Danny Solomon) sitting in the gloom of a dusty, sparce building. It is the 1960s, South Africa, and aphartheid is raging. His jagged delivery of his opening monologue setting the tone perfectly for the confrontations and revelations that are to come. The 'Hello' part of the title is the unexpected entrance of his estranged older sister, Hester (Hannah Ellis Ryan). These exchanges between the two are some of the most tersely measured and visceral I have ever watched on a computer screen. What they would have been like actually in a theatre audience I can scarcely imagine. Her leaving again is of course the title's 'Goodbye'. Solomon and Ryan both give Oscar-worthy performances.
I don't want to spoil any more of the plot since the action is very claustrophobic and the dialogue full of lengthy monologues. One can possibly liken some of the style of this production to that of Samuel Beckett (without the humour), and the direction by Jake Murray is precise and punctillious. Never once does it descend into melodrama or Tennessee Williams-esque mulch, which it so easily could have done; instead the action is sharp, focused and continually moving despite the apparent inertia.
I have to admit to not liking the play.. not really my cup of tea at all; but I am very grateful for the opportunity of watching this and expanding my knowledge-base. I couldn't have watched a better interpretation of the play.
I don't want to spoil any more of the plot since the action is very claustrophobic and the dialogue full of lengthy monologues. One can possibly liken some of the style of this production to that of Samuel Beckett (without the humour), and the direction by Jake Murray is precise and punctillious. Never once does it descend into melodrama or Tennessee Williams-esque mulch, which it so easily could have done; instead the action is sharp, focused and continually moving despite the apparent inertia.
I have to admit to not liking the play.. not really my cup of tea at all; but I am very grateful for the opportunity of watching this and expanding my knowledge-base. I couldn't have watched a better interpretation of the play.
Reviewer - Matthew Dougall
on - 25.6.21
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