Written by: Elodie Vidal (@ElodieVidal)
Arcola Theatre, London
***
Many stories can be made of a person’s
life. In portraying communist militant Olga Benário-Prestes, who was gassed
during WWII, writers often privilege her political heroism, or her romance with
revolutionary leader Luís Carlos Prestes. Olga’s Room, on the other hand, takes a wider angle: that of a
human being whose choices have led to imprisonment and torture. Split between
memories of the past and the present struggle for survival, Dea Loher’s play paints
a picture of courage in a dark, oppressive atmosphere.
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| Photo: Elyse Marks |
Speaking in Tongues’ production
of Olga’s Room commands unease and anxiety
from the start. Designer Matt Sykes-Hooban traps the audience alongside the
prisoners by dividing the claustrophobic space of the Arcola Theatre’s Studio
Two into three areas: in front of a wire fence, two decrepit bunk beds standing
for a cell, and a chair marking an interrogation room; behind the fence, lamps
casting dull shadows over a deserted corridor. In such a hopeless environment, even
symbols of tenderness - such as the baby clothes young Genny embroiders for
Olga’s unborn child - arouse despair, and spectators connect with the
characters in spite of themselves. The main source of audience involvement,
however, is the acting.
.jpg) |
| Photo: Elyse Marks |
Bethan Clark’s performance is
riveting. Shoulders tensed up, eyes darting in all directions, she conveys
emotions ranging from eloquence to anguish, taking the audience on a journey
while standing as their reference point. Pete Collis seems a bit unsure of his
character, Filinto Müller, as his emphasis on the torturer’s calculated charm
often clashes with his accesses of violence; in the end however, the
character’s sadism still shows through loud and clear. Ceridwen Smith plays the
destruction of Ana’s psyche with such intensity that her performance is likely
to stay engraved in the audience’s minds. Her appearances, made all the more
disturbing by the brilliant makeup, causes eyes to widen in horrified
fascination. Lastly, Sheena May’s portrayal of Genny makes the play bearable,
her innocence bringing in a breeze of fresh air, and even nervous comic relief.
In spite of the strong
performances, Olga’s Room can feel a
bit wordy. The many similes and metaphors of the original German text,
preserved in all their poetry by translator David Tushingham, sometimes come
across as verbose. On the other hand, a different style of language is to be
expected from translated theatre, and James Smith’s skilful lighting guides the
audience through the sea of words, marking chronology and location through
variations in light and colour. In the end, Olga’s
Room is too dark to be called entertainment, but it sure makes for a
poignant, captivating piece of theatre.
This production runs until 26 January 2013.
For more information: http://www.arcolatheatre.com/production/arcola/olgas-room
@ArcolaTheatre @SITTheatre
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