Reviewed by Judd Hollander
Director
Simon Stone's reinterpretation of Federico García Lorca's Yerma is,
quite simply, one of the best shows of this or any other theatre season. Enjoying
its North American premiere at the Park Avenue Armory, and featuring a
tour-de-force performance by Billie Piper, the work examines the unraveling of
a relationship where those involved are each hoping for a markedly different
outcome.
Set in
present day London
Piper's
character is also a professional journalist and blogger. Often writing about
personal issues important to her. Her co-worker Des (Thalissa Teixeira)
continually urging she make her postings as real as possible. The result being
that even though she changes the names of all involved, anyone who knows Her
and those in her orbit, can pretty well guess who she's referring to. Such as John's
friends and colleagues, who quickly key in on mentions of his possible
infertility, and his refusal to get tested. Or the fact how, she once induced
him to orgasm while he was passed out drunk. She also refuses John's request to
stop writing about her attempts to get pregnant; feeling that sharing this
story has become so much of who she is. Her ever growing need in this regard
blinding her to the fact she's not the only person in this equation. She also
failing to notice how her own sense of identity may be more tied up in trying
to conceive a child, rather than actually having one.
Much of
this character's need to have a child may also stem from the relationship she
has with her own mother (Maureen Beattie). A woman quick with comic or caustic
remarks, but having serious issues of her own when it comes to being
emotionally close with her offspring. Thus by having a child, Her can then
shower it with the maternal love she herself never received.
In the
program notes, Lorca is quoted as saying Yerma has no plot;
and indeed, the early scenes remind one of a rather sappy British sit-com. Featuring
snap shots of Her and John in a sexual and alcohol-fueled existence. Yet it's not
long before things start to become intensely real, with both characters forced
to face the cold light of reality. Especially when it comes to truths neither
wants to hear.
Brendan Cowell (John) and Billy Piper
(Her) in Yerma at Park Avenue Armory. Photo by Stephanie Berger.
Stone's
staging of his own adaptation is nothing short of brilliant. He taking an 84
year-old play, albeit one with a universal theme, and placing it in a totally
relevant and modern setting. With all the emotional baggage that comes with it.
The various scenes divided by such ominous sounding titles as
"Disillusion", "Reality", "Deception" and
Descent", among others.
Another
essential element of the story is the very intriguing set by set designer
Lizzie Clachan. The show taking place in what can best be described as a huge glass
tank which fills most of the stage. Watching the characters ensconced therein,
one can't help but feel those inside exist in their own closed universe. Each often
unable to see beyond their own needs and desires, and where compromise, such as
adoption, is definitely not an option.
Piper,
who is onstage for almost the entire play, gives a shattering performance,
going from a well-adjusted woman to one mentally and emotionally unhinged,
while spiraling deeper and deeper into despair. Originally seeming somewhat
vapid, it's not long before the audience sees exactly where she's coming from
as they quite willingly accompany her on the emotional roller coaster that has
become her existence.
Cowell is
very good as John, providing a perfect counterbalance to Piper's performance.
He matching her verbal joust for joust, while also being the more realistic
person in the relationship. Ironically, it's John, for all his selfishness, who
ultimately becomes the more responsible of the two. While also displaying an
important streak of self-preservation.
Charlotte
Randle works well as Mary. the sister of the Piper character. Someone who has
relationship problems of her own, and who also figures into her sibling's
writings - as well as some unpleasant fantasies. Beattie gives a strong
performance as Her and Mary's mother. A woman who cares about her children from
a distance, yet is unable to give either of her daughters the emotional support
and understanding they need. John MacMillan does a nice turn as Victor, a
former lover who unexpectedly reenters the picture and who may be a possible
solution to a certain problem.
Also
deserving of mention is the excellent work by lighting designer James Farncombe,
and music and sound designer Stefan Gregory.
Interesting
when it starts and riveting by the time it finishes, Yerma works
best because it never forgets the various human elements in this all-too-real
situation.
Featuring:
Maureen Beattie (Helen), Brendan Cowell (John), John MacMillan (Victor), Billie
Piper (Her), Charlotte
Yerma
by Simon
Stone
after
Federico García Lorca
Directed
by Simon Stone
Set Designer:
Lizzie Clachan
Costume
Designer: Alice Babidge
Lighting
Designer: James Farncombe
Music and
Sound Designer: Stefan Gregory
Video
Designer: Jack Henry James
Casting:
Julie Horan CDG
Associate
Director: Kate Hewitt
Associate
Lighting Designer: Nicki Brown
Associate
Sound Designer: Peter Rice
Company
Stage Manager: Pippa Meyer
Deputy
Stage Manager: Sophie Rubenstein
Stage
Manager: Cynthia Cahill
Assistant
Stage Manager: Heather Cryan
Assistant
Stage Manager: Ella Saunders
Production
Manager: Jim Leaver
A Park
Avenue Armory and Young Vic Production
Tickets:
212-933-5812 or armoryonpark.org/
Running
Time: 1 hour, 50 Minutes, no intermission
Closes: April 21, 2018
Closes: April 21, 2018
