Finborough Theatre, London
****
Director Russell Bolam has excelled
in bringing Somersaults, a play with a
Scottish heart, to London. The dynamism of the play, in which the ultimate goal
is to assert a case for Gaelic heritage and language, is perfect for the
intimate setting of the Finborough Theatre. First commissioned and performed by
the National Theatre of Scotland in 2010, the play juxtaposes the Isle of Lewis
with the plush London life of the central character James. We begin to see
these two worlds come together through loss, love and language. This is a
production invested in integrity, which makes for a refreshing theatrical experience.
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| Photo: Richard Walker |
Somersaults is a fine example of the intelligent plays the
Finborough Theatre is renowned for. We start with the carefree youth-zone of
video games, from which James (David Carlyle) has made his money and move to the
young professional lives of older James and old university friend Mark (Simon
Harrison). James is making something of his life, boasting trophy wife Alison
(Emily Bowker). But the change is not all positive. James cannot remember the Gaelic
equivalent of the word ‘somersaults’, and what begins as an irritation
represents a deeper yearning for his life to be more meaningful. We learn that language
defines identity and through losing languages we jeopardise traditions,
memories and relationships.
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| Photo: Richard Walker |
Ironically, in a play where the
case for language is advocated, the most memorable moments are those without
words, or scenes spoken in Gaelic. James and Mark play a drinking game to The
Police's Roxanne, which is comically
inspired. The energy of the piece is incredible, with the audience defenceless
against Bolam’s carefully engineered emotional rollercoaster. When James’ father
Sandy (Tom Marshall) dies of cancer and Barrett (Richard Teverson) the
convincingly harsh liquidator strips him of everything he owns, we see a broken
man. David Carlyle should be commended for a role that is one hundred percent
genuine. When he consumes his father’s ashes in order for Barrett to take away
the Urn, the audience gasped in admiration as well as shock.
Phillip Lindley’s set design,
alongside the lighting of Elliot Griggs is remarkable. The set effectively
combines pleasing visual aesthetics with practicality for the actors. Bolam’s
interpretation is noticeably prop-heavy, especially when James looks over his
father’s loom, but just the right amount of sentimentality is included. Complex
transitions between scenes are smooth and do not divide up the piece, which
some productions would struggle to overcome. Tableaus, black outs and
soliloquys are all used to enhance the action rather than to overcomplicate the
piece.
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| Photo: Richard Walker |
Despite the non-linear plot being
rather hard to follow at times, it’s highly engaging and we are definitely with
James every step of the way. The final scene, where the fourth wall is broken
and the actors advocate the case for Gaelic, may have its critics. I, however,
am not one of them. It was frank and further addressed the problem head on. I
strongly recommend you see this highly compelling piece with a highly accomplished
production cast and crew.
This production runs until 26 January 2013.
For more information: http://www.finboroughtheatre.co.uk/productions/2013/somersaults.php
@Finborough @SomersaultsPlay
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