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Latest items? Unedited? Fringe Report Uncut
THE POLISH PLAY
Verdict: Interesting
London - Cockpit - December 02
It's 1939, we're in a country house in Poland on the edge of forest and invasion. The Russians are coming from the right, Germans from the left. Belorussians are simmering in the woods. Aristocrats in the house are preparing for a concert. The Polish Play tells the story of that preparation.
Josef's a sculptor. Heading for death as a despised Pole and aristo he'll go out with brio and a work of art to be remembered by. His sister Euphemia runs the house with dignity and panache, used to death from the suicide of her transvestite bullying husband and drowning of her sons. Daughter Irena's a ballerina ready to dance her way to extinction, as an alternative to breeding sons of Poland with the forest proletariat.
Elzbieta derives lyrics from her crutch, whereas her writing partner Krzysztof writes from his head, so they compose together with her mounted on his shoulders, the relevant organs being in proximity. Servant Jadzia's not sure whose side she's on, but is armed with homespun advice and abilities to contact the spirit world. Soldier Tomasz has deserted his platoon and his wife, he's a poet with desire for chatelaine Jessica. The interlocking relationships of the six characters, in the last hours of their lives - death, one way or another, is inevitable - are examined in the course of the play.
Jessica Clements presents a Euphemia with dignity, composure, authority, and a vulnerability to love. Craig Karpel's a sensitive Tomasz, convincing as the soldier-romantic preparing for the final exit. Arthur Kohn is a robust Josef, a believable characterisation of the ruling-class artist with a touch of the Marquis of Bath. Mark Luigi plays Krzysztof with full anal retention, it's a clever and adroit piece of acting. Layla Nezirovic-Wiseman provides an Irena who takes the breath away, graceful, and, when it's required, hilariously funny. Diana van Proosdy is a splendidly moody Jadzia, a faithful retainer fueled on sulphurous resentments. Maggie Robson delivers a reckless, randy and funny Elzbieta, remarkably agile. It's a sensitive and apt portrayal, with a dangerous hint of the feral.
The Polish Play benefits from strong direction by Sonia Ritter, the imagination of writer Alison Atkinson, and dedicated performances from all the cast. The part of Irena is a superb invention which transcends the present format: a sparkling characterisation created jointly by Atkinson's writing and astoundingly gifted acting, diction and dance from Layla Nezirovic-Wiseman.
The Polish Play is in 2 acts with interval. Act One is an hour, Act Two 55 minutes. There are extended periods when it drags heavily. A line-by-line edit to remove exposition, clichι and over-writing might expose some interesting material, buried at present in prolixity - there are some imaginative devices peeping round its corners. The play would benefit from a strong focus, a title that tells more specifically about the play, and a climax. Honing 2 hours of variable content could produce a taut 45-minute play.
Cast Credits (alpha order): Jessica Clements Euphemia. Craig Karpel Tomasz. Arthur Kohn Josef. Mark Luigi Krzysztof. Layla Nezirovic-Wiseman Irena. Diana van Proosdy Jadzia. Maggie Robson Elzbieta.
Production Credits (programme order). Writer/Producer Alison Atkinson. Director Sonia Ritter. Composer Richard Dubugnon. Production/Stage Manager David Beaton. Scenic Designer Clara Cormack. Lighting Designer Joe Steele-Rosen. Sound Alec James. Scenic Construction Roger Forbes. Graphic Design Jess Abbo. Programme Design Ray Barsby. ASMs Gemma Boileau, Mel Thomas. Company Atlas Productions.
END
John Park
reviewed Thursday 3 December 02 / The Cockpit Theatre
Fringe Report (c) Fringe Report 2002-2012
www.fringereport.com
