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drinks Monday 1 September 08 Edinburgh Reunion in London
Topping And Butch Hit Leicester Square 26-27 September 08
PERSONA
Verdict: London Run's A Must
Rose Theatre, Sidcup, 16-17 July 2002
Poor Richard Attenborough. After 50 years of distinguished films he’s still mistaken for brother David and asked if he’s ‘the one with the monkeys’. And Hedley Lamarr, spoof State Procurer of Mel Brookes’s Blazing Saddles, goes berserk getting confused with Hedy.
Who better, then, to create a masterwork probing the question of identity than Ingmar Bergman? Despite 5 wives and at least 8 children, the randy Swede’s spent a lifetime being mistaken for unrelated compatriot Ingrid, who snogged Bogart in Casablanca.
In Bergman’s script Persona, the story is simple: a famous actress is struck silent after
starring in Electra, she’s sent to the country with a nurse to recuperate, and by the end she’s back to normal.
Quite what makes Elisabeth Vogler (Kate Dineen) silent, is the mystery of the play. Is it her inability to face motherhood, her insecurity as a woman in her 30s, or a whimsical role to draw attention to herself? And is Alma (Katherine Kerrow) a real nurse, a part of Elisabeth’s confused mind arguing her thoughts back to her, or someone independent but gradually taking on Elisabeth’s persona?
Kerrow is superb as the - by turns - passive and tolerant, violent and hysterical Alma. She finds the perfect expression for each extreme of Alma’s character, making her 3-dimensional and convincing in each of her contradictory phases.
Andrew Rasheed, doubles as Elisabeth’s handsome, barmy and worrying husband, and a Doctor so creepy as to put one off white coats for life. He provides a powerful engine of masculinity which perfectly underpins the drama between the two female parts.
Bergman filmed Persona. A hard act to follow? No, Kate Dineen’s mesmeric Elisabeth does so with grace and ease, producing a definitive performance of this hugely complex central character. It’s quite impossible to take one’s eyes off her for a second. Dineen’s vivid and largely wordless evocation is crafted on a cool elegance of gesture and facial expression, which give her speech - when it comes - a haunting and dreamlike power.
There’s subtle direction from Dmitry Tolonen, who also adapted the script. Tolonen gives a lighter touch than perhaps would Bergman himself (still hard at work filming in June 2002, aged 84), achieving the director’s dream of making what could be a lead balloon into an easily accessible, delightful – and humorous – entertainment.
The well-designed set is by Nigel Hook. Skilful lighting design helps direct the audience’s focus, particularly on the silent figure of Dineen’s Elisabeth. It’s excellently done by Rachel Nicholson and her assistants Dan Terry and Chris Mangalaparathy. Thoughtful sound design by Oskari Moilanen enhances the subtle mood. Stage Manager is David Martin assisted by Caz Williamson. Production Manager, Philip Dundee
This fine production needs a London run to reach the large audience it deserves.
John Park
reviewed Tuesday 16 July 2002
related topic - our review of Electra
Fringe Report (c) Fringe Report 2002-2008
