Tag Archives: Emily Bruni

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“The Dance of Death” at the Arcola Theatre

Rebecca Lenkiewicz’s new version of August Strindberg’s play about mortality and marriage is terse and startling. The warring couple we watch torment each other are more than mouthpieces for speculation about the meaning of life – they are entertaining, too. And not shy of expletives. A view of existence as “funny as well as tragic” permeates so thoroughly that director Mehmet Ergen’s production intoxicates.

Lenkiewicz’s contribution is original. Her full-blown embrace of Strindberg’s humour is as dark as can be. Wondering whether to celebrate their Pearl anniversary, Alice and Edgar’s viciousness towards each other is bizarrely creative. Their venom gets laughs and contains a strange respect. 

The degree of farce in Strindberg’s world view – the idea that life may have no meaning and is “preposterous – is highlighted. Ergen’s direction must deal with this absurdity, including the unsettling idea that we cannot quite believe what anyone says. But being discombobulated is part of Alice and Edgar’s game. Like the play, their psychodrama is a contest full of the unexpected.

One thing that doesn’t surprise is the fantastic performances from the leads. The always excellent Hilton McRae and Lindsay Duncan are superb. McRae makes his bullish Army man imposing, but so independent and spirited that he still impresses. Duncan shows incredible subtlety while delivering the bluntest lines – viciousness drips from her mouth. While we feel sympathy for her life with her abusive husband, we can see she is a “devil, too”. Both performers show incredible control as the “bile that infects the air” is delivered in a frequently calm, almost deadpan, manner that works as comedy while reflecting chilling desperation.

Lindsay-Duncan-and-Emily-Bruni-in-The-Dance-of-Death-at-the-Arcola-credit-Alex-Brenner
Emily Bruni and Lindsay Duncan

A third role in The Dance of Death, Alice’s cousin, is skilfully portrayed by Emily Bruni. It’s hard not to see the character as overshadowed by the those who play with her – especially since why Alice and Edgar use her is at the back of our minds more than her predicament. Nonetheless, the cruelty behind the play is continually enforced by what happens to Bruni’s character.

Resignation – about all life as much as its end – in The Dance of Death is active, a powerful force. There’s plenty of fantasy, including the deliberate misconstruction of narratives, capably enhanced by lighting and sound design from David Howe and Daniel Balfour respectively. The play should be impossibly grim, but with humour and glimpses of humanity there are surprisingly consoling moments. I wouldn’t want to get an invitation to that anniversary party – these guys are frightening company – but I think it will go ahead. As for getting a ticket to see the show – that is a must.

Until 23 July 2022

www.arcolatheatre.com

Photo by Alex Brenner

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“Psychodrama” at Never for Ever

Even dedicated theatre-lovers can surely be forgiven a little monologue fatigue right now. After a long lockdown with lots of solo shows, new productions are, understandably, sparsely populated. But in a crowded field Matt Wilkinson’s piece holds its own, thanks to a wicked sense of humour and star turn from Emily Bruni. With performances postponed four times because of Covid-19, it’s pleasing to note that Psychodrama is worth the wait.

Wilkinson writes in detail about the life of an actress, who works part time in a shop since she has reached “the age the phone stops ringing”. We take a keen look at problems distinct to women in the theatre. During the painful rehearsal of a new show, with a vividly described Dutch director (a good mix of fun and creepy) we see younger, less talented performers preferred.

There are lots of salient points and witty observations. Bruni delivers it all impeccably with the aid of Wilkinson’s direction and a downright cunning restraint that makes sure it’s us and her character against the world… or at least against posh shoppers and Netflix stars.

Along with the pointed comedy, Psychodrama is a thriller with the scenario that the dastardly director, working on a stage “approximation” of Alfred Hitchcock’s Pyscho, has been murdered (guess where). There might be more tension, despite fine design work from James Turner, Elliot Griggs (lighting) and Gareth Fry (sound), but the craving for details is appropriate for the genre. I’d just like more, please.

A bigger problem is that an examination of our heroine’s mental health feels lost, having suffered from a breakdown and now “on first name terms with losing the plot”. The script raises the question of what “getting better” means, but does not develop the idea. Bruni makes sure we’re interested in the strange mirroring between her character, Hitchcock’s fictional Marion Crane and the original actress, Janet Leigh. But this potentially fascinating triangle is too compacted.

Psychodrama seems to lose confidence and, speeding to a conclusion, wastes its twists. It’s in keeping with Hitchcock’s masterpiece that the narration becomes unexpected. But Wilkinson should be prouder of the ideas he has come up with and make more of them. The script has the wit and Bruni the presence to keep our eyes on stage for longer.

Until 3 July 2021

www.neverforeverkt.com/psychodrama

Photo by The Other Richard