(reviewed at Brighton Fringe 2007)

Queen of The Slaughter is 60 minutes of drama - using the forms of movement, dance, music, sword-work, song, some speech - on themes including political indoctrination, revolution, and the dynamics within social groups. There is a cast of 5 (1F 4M).

Characters are not named within the production, and to assist description they are named here from some of their clearly recognisable roles. The one woman is played by Miranda Henderson. Two tall men with closely-shaved heads, who wear dark suits with collarless shirts and often act as a pair, are performed by: Chris Chatfield, who also plays a large mandolin-like instrument and does sword-work - swordsman; Alister O’Loughlin, who for part of the action recites political indoctrination from a book - teacher. A man wearing glasses and a beret who sings and plays piano - played by Ignacio Jarquin - pianist. A man in a fawn suit who receives instruction and is in a way the hero, the one on whom attention is centred by the rest of the players - played by Vladan Avramović - protagonist.

There's a blackout, and spoken words 'Mark. Take aim. Fire.' A brightening spotlight reveals a woman making swimming motions; the other characters echo her movements. A man (pianist) sings what feels like a revolutionary song in a language that sounds mainland European. The woman lights a match, and slowly lights a candle. She gives the candle to the singer, and the others join the singing. This pattern of carefully-considered movement, gesture and the combination and contrast of solo and group activity runs through the production, examining - among other topics - the actions of the individual alone, and the influence of the group on the individual's behaviour.

Stage design (by Peter Farley) evokes the atmosphere of a commune, perhaps in a slightly earlier time, perhaps communist, though the affiliation is not fully spelt-out. To the right of the stage there's a table in foreground, and a platform on top of a frame to the back. There's a platform on castors - a rostrum viewed from one side, which reveals an upright piano and seat when turned around - which the characters move round the space to suit the action. There's a series of poles to the rear and sides, between which dark grey drapes hang on ropes. There's smoke throughout the performance, giving the dusky, grimey feel of an anarchist squat. Lighting (by Chris Umney) uses half a dozen high level lamps to the rear, a couple from the front, and three horizontal lamps from each side. It's an effective selection, matching the atmosphere of the room created by the design, and the piercing political atmosphere.

The woman twirls, the teacher tumbles over the floor, the swordsman plays mandolin. They drape a flag reading 'Libert' from the platform. The teacher and swordsman perform a sword-play dance near the protagonist - who wears his trouser-braces off, round his bottom, throughout the show. The pianist plays - live - romantic Chopin, as the woman - in diaphanous ballgown with silver decoration and bows - dances with the protagonist. They are watched by the teacher and swordsman, who sway almost comically from the sides of the piano and move it towards the dancing lovers. The woman slips away as the protagonist dances alone, joining the other men, who eat the protagonist's food. She leaves a gun on the table for him, rejoins his dance, then leaves.

It seems that the swordsman and teacher are trying to indoctrinate the protagonist. Their appearance and movements emphasise the sinister and the bullying; the protagonist's stress the innocent. As the other characters sleep, the pianist urges the protagonist to leave. But they awake, play angry mandolin, twirl, and tumble. The teacher reads in English a set of mantras commencing 'Leadership is a matter of five things' from a book; he requires the protagonist to repeat his words. This set of actions is done by the teacher tumbling over the protagonist's lap, reciting, the student repeating, and the teacher pushing him at the swordsman, who swipes at the protagonist with his sword in a series of movements, the characters dancing together. The actions, including the tumbling, are repeated many times, one after the other - perhaps to emphasise the repetitive process of indoctrination, but at the risk of provoking irritation or at least boredom - and a whiff of pretentiousness, at odds with the rest of the show.

Will the protagonist accept indoctrination? Will that lead to him becoming a killer? Will the gun be fired? What's the message if it is, or isn't? The first points form part of the action, the last may in the end be a matter of individual interpretation, and Queen of The Slaughter may divide audiences.

Some may thoroughly enjoy the motion, nuance, suggestion, artfulness, may allow the physicality to sink in, producing an intuitive rather than a directly rational understanding of the piece. Others may find it confusing to understand what is happening, and, when it is over, what it has all been about - which may not necessarily prevent enjoyment. The production is devised and directed by the players, and at times problems that can be associated with that come to the surface - an occasional lack of focus, some questionable directing decisions. For example, starting with a foreign - to a British audience - language song, outside of the widely-spoken European languages is a brave and artistically altruistic move, which risks losing the audience's understanding of what is going on, and therefore possibly the audience itself, early. The repeated tumbles of the indoctrination can pall. In such an experimental production it may be considered useful to keep a stronger thread for the audience to grasp when scenes become perhaps deliberately, for artistic purposes, obscure.

The remarkable physical abilities of each of the cast are in no doubt - but sometimes - perhaps as much as a third of the time - the production can feel like a gifted display of flawless technique rather than drama. This is not necessarily problematic - the level of skill is very high, and the performers great to watch. But during the show's evolution - this is clearly, from the evidence of the performance, a company that continues to evolve its work - it could strengthen an already strong show to cut ruthlessly in parts, and rewrite. At the moment it is possible to come away confused - no harm in that. Stretching the boundaries of what is allowed in a dramatic performance is an alluring experiment, with techniques spreading out almost as far as circus skills. There's the feeling of a show that will tour readily, as if the players and production stretch back to medieval touring players, 21st Century mummers. And it's a show not afraid to take risks.

Vladan Avramović provides the protagonist with a look of handsome innocence that avoids weakness and suggests resolution - with the flavour of a romantic lead. Alister O’Loughlin's teacher is a sexy daredevil of gracious movement - a graceful and exciting performance throughout. Chris Chatfield's swordsman is a fairly sinister and hunky cove, an imposing figure who scares equally playing enlarged mandolin and handling his weapon. It's great to hear live piano, as opposed to keyboard, played on stage; Ignacio Jarquin delivers a good-looking pianist playing how Chopin might have sounded on a pub piano - surprisingly moving. Miranda Henderson's woman is pretty as can be and joyfully elegant - it's a shame there isn't more of her dance in this piece; what there is is a breathtaking delight.

Sources: (as stated in the show's leaflet): 1 - The Art of War by Master Sun Tzu (edited from Thomas Cleary’s translation). 2 - Po šumama i gorama Partisan Anthem from the Former Yugoslav Republic. 3 - Si può?...si può? Prologue from the Opera 'I Pagliacci' by R Leoncavallo. 4 - Moderato Piano Sonata in A Minor D845 Op 42 by F Schubert. 5 - Waltz for a Queen by I Jarquin. 6 - Scottish Dance in E Flat Major WoO 83 by L van Beethoven. 7 - Waltz in C# Minor Op 64 No 2 by F Chopin. 8 - Grave Piano Sonata No 8 in C Minor Op 13 'Pathétique' by L van Beethoven. 9 - Leise flehen meine Lieder Ständchen from 'Swhanengesang' D957/4. 10 - Improvisations by Chris Chatfield on the traditional English work song Blood Red Roses.

Cast Credits: (alpha order): Vladan Avramović. Chris Chatfield. Miranda Henderson. Ignacio Jarquin. Alister O’Loughlin.

Company Credits: Devised by (alpha order) - Vladan Avramović, Chris Chatfield, Miranda Henderson, Ignacio Jarquin, Alister O’Loughlin. Scenography - Peter Farley. Lighting Designer - Chris Umney. Artistic Associates - Annie Castledine, Charlie Morrissey, Andrew Nisbet. Photography - Matthew Andrews. Publicity - Andrew Feest at HA Design. Thanks To - Hugh Charlton, Gilbert Taylor, Clare Dunn, Augusto Corrieri, Giulia Innocenti, Jon Linstrum, Wolfgang Hoffmann, David Lavender & all at Komedia, All at Zelgrain, David Ingledew, Roger McCann and Rebecca Ball at the Arts Council, Lloyd Thomas. Company - Prodigal Theatre.

END

John Park

reviewed Friday 25 May 07 / Komedia

Fringe Report (c) Fringe Report 2002-2008