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It's simply unfair that one person should have
more creative talent in his ballet shoe than some of us have in
our entire wardrobe.
Matthew Bourne, who brought us the male corps de
ballet in Swan Lake, and the schmaltziest ever Nutcracker, has turned
his attention to the experimental era of the early sixties, epitomised
by gritty films like Room at the Top and The Servant.
What can I say without gushing superlatives? Bourne
to choreograph, born to excel. A witty, detailed and inspired piece,
based loosely on The Servant, which is played out in duplicate,
sometimes in triplicate, against another stunning set by Lez Brotherston.
Far from being a bit-part, the set plays a leading
role, with the upmarket residences of central London providing the
backdrop to walkways, railings and a large curling staircase, which
can be swivelled in all directions.
Belinda Lee Chapman and Richard Winsor get intimate |
But to remind us it is swinging Sixties, an old
red telephone box teeters at an angle, and just peeking around the
corner, the tourism must have - the red double decker.
The piece does follow much of the storyline in
the film The Servant.
It features a wealthy young couple pursuing lust
where they can get it, he with the all-too-willing maid, she with
an itinerant musician, and slowly relationships change, leaving
the manservant of the house controlling everything.
But Bourne has injected it with a large slice of
humour, so there are some wicked character observations, particularly
at the avant garde party where Andy Warhol is a guest.
It would be wrong not to mention the music by Terry
Davies, which ranges from full scale brass ensemble to smokey blue
sax, including some terrific trumpet solos.
It's used to tell the story, just as much as the
choreography, and sometimes seems so well in tune with the action,
it's hard to know which came first.
Why should you go to see it? Because the seduction
scene after the interval on the kitchen table, to the accompaniment
of a dripping tap, is the steamiest stage action I've seen for a
while.
Because of the little touches of brilliance in
attention to detail, that demonstrate Bourne's observational skills.
Because you'll not see a wittier, more seductive,
all encompassing piece of theatre on the touring circuit. Play Without
Words has left me without words, it simply blew me away.
Play Without Words runs until Saturday 20 March,
2004.
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the interview with Matthew Bourne »
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