Black Box Theatre,
Galway
Nov 30-Dec 1
I had forgotten how jam-packed The Rehearsal, Playing the Dane is
before I went to see it for the second time last night in Galway. Despite
having already written about the show (twice), I have some further comments
below, especially in relation to how this production differs from the debut run
last year.
- Okay, so we have a few
cast shake-ups: Garret Lombard and Olwen Fouéré are out, and Bush
Moukarzel and Gina Moxley are in. Moukarzel proposed an interesting take
on Hamlet with his gentle demeanour, and I would like to see how he would
have handled the material (Madden got it again the night I went). I do
think Lombard, with his difference in age and his distinguishable
confidence, formed a more interesting side to the triangle though. Did
anyone see Moukarzel in the role?
- Always great to see Moxley
onstage. How did I miss before the Gertrude-type character quoting Endgame (“I’ll go now to my
kitchen, ten feet by ten feet by ten feet, and wait for him to whistle me.
Nice dimensions, nice proportions, I’ll lean on the table, and look at the
wall, and wait for him to whistle me”)? Its use suggests a vulnerable side
of Gertrude that we rarely see: her dependent relationship to men. Moxley
slightly cracks at that moment and it’s heart-breaking.
- Speaking of the Beckett,
did anyone else have a call-back to All That Fall’s Mrs. Rooney with
the Endgame monologue: “One day you'll be blind, like me.
You'll be sitting there, a speck in the void, in the dark, for ever, like
me”.
The blackout and searing soundscape after the monologue was also
reminiscent of the storming end of All
That Fall. Pan Pan do Beckett almost too frighteningly well.
- I had a suspicion going in
that I wanted to see Derek Devine get the role. His Reynaldo and Horatio
scenes are beautiful in my books. When we were voting I asked him how many
times he had gotten ‘Hamlet’ and he replied that he won twice. Anyone out
there attend one of those two performances? Anyone able to comment on how
he did?
- You can really see Quinn,
Piesse and company staring into the audience during the “postdramatic”
silence. It’s such a weird, tense moment. It occurred to me during it that
it would be amazing to see the audience from Quinn’s table.
- I’m glad they didn’t waste
the opportunity to incorporate Madden’s injury from the Second Age Hamlet tour last spring. For the
record, that series of athletic leaps he described he would do if not
injured in the audition: he actually did do in the debut run, and it was
one of the reasons why I voted for him then. He’s a great physical actor,
and I really hope the injury hasn’t affected him that badly.
- Where’s Toby? I hear that
his owner moved to England and the great Dane had to follow him. Buddy was
a friendly replacement though. Not too keen on playing catch with Yorick’s
skull.
- Judith Roddy as Ophelia:
still steals the show for me.
Finally: I was intrigued by the difference in audience reactions
from both the Dublin and Galway shows. I heard quite a few negative
reactions from spectators last night, some of whom found the piece
inaccessible, self-indulgent, overly-academic, and not really dramatic. Therefore,
I feel it appropriate to revisit The
Rehearsal, and to question if its scholarship approach is really accessible
to non-theatre historians and academics? I would be inclined to say “yes” but
I’m interested in hearing what everybody else thinks.
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