THE FOUR SEASONS – A REIMAGINING Wanamaker, SE1

SILENT, SIGNIFICANT CREATURES

 

The candlelit Wanamaker has proved its worth as a music-room, notably with All The Angels and the divine Farinelli. This takes it further with the first wordless performance: Finn Caldwell and Toby Olié of Gyre and Gimble the master-puppeteers create a silent story with half-sized, fully-jointed physically expressive but undecorated hard-foam “bunraku” puppets. Five expert puppeteers control them, one or two at a time in perfect concord so human and object blend into something other. Their narrative is an expression of Max Richter’s “recomposition” of Vivaldi’s Four Seasons. A six-piece orchestra plays overhead: baroque violins, viola, ‘cello and harpsichord/synthesizer.

 

 

Which all sounds a bit recherché: could be a tough hour, you’re thinking, since anything drawn from Japanese theatrical tradition can be an acquired taste . Actually, it is a beautiful and accessible performance, somewhere between mime, dance and theatrical epic. Sometimes, indeed, you are so bound up in the emotional lives of the pale puppets that you suddenly think “hang on, what’s that stuck on his foot?” before realizing that it is the fingers of the puppeteer, and that every movement of this seemingly vivid being is being controlled by humans you have somehow stopped noticing…

 

 

It is a story they tell – of lovers and their child, of ordeals, travels, death and loss and discovery. But as the creators teasingly insist, it is one onto which we project our own interpretations. However, there is certainly folktale in there, because the puppet figures are sometimes physically literal – walking, running, falling, struggling, fighting their handlers or slumped in wrenching despair – but they can also fly and float surreally as if becoming their own dreams. In one extraordinary sequence near the end the central figure relives the events of a whole life.

 

 

The story begins with a sweetly awkward park-bench courtship, and a breathless pause when father kneels before mother as she holds her belly. There is a suitcase and a parting, one parent gone far from a child-puppet who crawls, stumbles, takes first steps with the other. Separation, obstacles, struggle; deaths, a trek home, a graveyard or mortuary of strange gnarled shapes like old bark , weeping desolation. Once mother and child fight together through great hard shapes, leap a ravine. A river, swimming, a corpse…any of it could be a dream, or a real refugee journey, or both.

 

 

Late on a lonely figure fights for life, or maybe just sanity, against a cloud of blue flapping inchoate cloths which become ghost figures. You’re engrossed, the music sharp in your head, every note and move significant, very human. By the way, there are a couple of “relaxed performances”: for some, it may form an even stronger connection than it does to us “neurotypicals”. And that is overwhelming enough…

 

 

box office https://tickets.shakespearesglobe.com/
to 21 April
rating four  4 Meece Rating

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