Written by: Lils (@LilyKG)
National Theatre (Olivier), London
****
London Road has returned to The National Theatre, for a limited period, after its sell-out run last year. After having heard so much about the critically acclaimed production, I couldn’t wait to take my seat in the Olivier’s vast auditorium. I have to say, the prospect of experiencing a musical centred on the Ipswich serial murders of 2006 filled me with intrigue more than anything else – it struck me as an interesting medium through which to explore the remembrance of such a brutal event. If you’re filled with the same feeling, you should quench your curiosity with this refreshing production. It brings a whole new meaning to what we know as 'verbatim theatre'.
Firstly,
it’s important to stress that the play focuses on the effects of the events on
London Road and not on the murders themselves. This is not a murder mystery;
it’s an accurate account of the residents’ responses to the case as it
unravelled. Alecky Blythe (playwright and founder of Recorded Delivery Theatre
Company) conducted and recorded interviews with the real residents and these
recordings were, in turn, studied by the actors. They were never provided with
scripts, but rather learned their lines by ear so as to preserve the musicality
of the recorded speech; the results were quite remarkable. Every hesitation,
interruption, every “um” and “ahh” was vocalised on stage and this made the
characters spring to life as though they were speaking directly to you. The
sheer volume of material and the apparent accuracy with which it was recounted
was incredibly impressive; the inclusion of audio clips from the original
interviews can verify the truthfulness of the vocal performances. However,
although the script was astounding, the musical score was like nothing I’ve
ever heard before.
Adam Cork
(composer and co-lyricist) has managed to build the music around the
pre-existing musicality of the interviews. The rhythm and melody is totally
dictated by the spontaneous speech features that were present in the initial
recordings and, on hearing the first song, it produced a fascinating result.
The rhythms were irregular and unpredictable but, somehow, they worked
brilliantly. He has masterfully picked out beautiful harmonies, which transform
the chaos of these rhythms into a symphony of voices as every actor eventually
contributes to a wall of sound. It’s totally bizarre, but it sends a tingle
down your spine and you’re left wanting more and more. If there is any
criticism, it’s that once you’ve heard this structure for the first four times,
the recurrence of it does start to make the progression of each song quite
predictable. Nevertheless, regardless of this relentless repetition, the
originality of the score is a reason in itself to see this production.
The Olivier’s
many capabilities can often tempt directors into exploiting every possible
trick it possesses, which can detract from the work being displayed. Not this
time, thankfully. Rufus Norris (director) has struck the perfect balance by
using the rotating platform to facilitate scene changes, but steering clear of
anything too flashy. The minimalist, stylised set was perfect for providing an
ominous undertone whilst allowing the actors to paint the stage with their
vibrant performances. With 63 characters to portray, the cast of 11 did
extremely well to differentiate when multi-role playing. The switching was
rapid and believable; Michael Shaeffer’s age seemed to fluctuate before our
very eyes – his changes were that convincing!
There were
moments of comedy, created by humorous characterisations and linguistic
hiccups; and moments that chilled the auditorium into an icy silence. The
latter effect was certainly achieved during the only scene in which we meet
some of the remaining prostitutes of Ipswich and hear how they view the murders
– a truly disquieting confrontation.
All in all,
I wouldn’t necessarily say that this is a production to be enjoyed, but I would certainly say that it’s one to be experienced. It’s not often that I can
honestly say that a performance has left me reeling, but this is definitely one
of those occasions.
London Road runs until 6 September 2012.
@nationaltheatre
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