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Jun 12, - Hattie Morahan as Carol in Anatomy of a Suicide, by Alice Birch, Evidently that inherited suicide is a possibility and that the trauma of Carol's.
Table of contents
- Twelfth Night by William Shakespeare and Anatomy of a Suicide by Alice Birch
- Anatomy of a Suicide review at Royal Court, London – ‘full of pain and strange beauty’
- Numéros en texte intégral
We first meet Carol when she is emerging from hospital having tried to kill herself by slitting her wrists; subsequently giving birth does little to quell her visible unease. That daughter, Bonnie, has grown up to be a skilled physician who is gay, guarded in her relationships and determined to avoid the possibility of procreation. If I say that panels above the stage reveal early scenes to be taking place in , and and that by the end the story has moved on by roughly a decade, you will get the general idea. So what is Birch suggesting?
I am not qualified to say whether that is psychologically true, but behind the play lies a genetic determinism that I resist.
Twelfth Night by William Shakespeare and Anatomy of a Suicide by Alice Birch
I can, in fact, think of few exact parallels to this play. Casting also ensures that the three women, although linked by blood, are idiosyncratically different. Hattie Morahan plausibly lends Carol the air of a once-golden girl infinitely baffled by her inability to find happiness in marriage or parenthood. It also confirms that Birch is a questingly experimental writer who, even if she insufficiently acknowledges our capacity to escape our parental legacy, has a remarkable gift for reinventing dramatic form.
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Anatomy of a Suicide review at Royal Court, London – ‘full of pain and strange beauty’
And yet, the next year the Royal Shakespeare Company followed with its music heavy production, including a Feste that serenaded the audience during intermission, that found its way to the West End, with Richard Wilson as the put upon Malvolio. In contrast to those two ebullient scenes, I always cringe at the Sir Topas scene, where Malvolio has been imprisoned by Toby.
It is relentlessly dark and cruel and runs counter to the spirit of the play, plus it brings the energy and momentum of the story to a complete standstill. Her re-envisioning featured new lines and songs, the cutting of a great deal of Shakespearean text, and a playful, spirited cast that not only brought the production to life in an entirely new manner for those familiar with the play, but also introduced Shakespeare in a fresh, relatable way for a new generation.
This latter point was clearly seen on the faces of the tweens who sat in front of me, relishing the electric production and peppering their parents with questions about the characters, the plot, and Shakespeare. The first Shakespearean line of the play was finally uttered almost ten minutes into the performance. In staging such a lengthy pre-text sequence it would only make sense that Rice would make some cuts and changes to ensure that she did not end up with a three-hour long Twelfth Night. Many of the cuts that she instituted occurred in the three scenes I mentioned above.
Rice, who limits the role of Feste greatly, instead used the scene to highlight the romantic relationship between Toby and Maria. Unlike some productions where Toby comes to love Maria over the course of the play, here they were already a couple. And it is worth noting that for the first-time in all the productions I have seen Maria is presented as being as equally prominent as Olivia and Viola to the story, creating a triumvirate of strong women. Rather than the usual dark setting and ubiquitous staging of Malvolio emerging out of the stage floor, surrounded by bars, the stage stays bright and Malvolio instead sits on a bunk bed while talking with Sir Topas.
The dark tone was removed, the scene was simplified, and the exuberance and energy of the production was not affected. Her decision to pare this problematic scene was a smart theatrical choice. The scene became streamlined and the comedy truncated. Because of this change, it no longer was a show stopper and the final scene before intermission. Instead, intermission came after the next scene which takes place between Olivia and Viola.
After all, her focus was love. There is no love present in that scene. Her production of Twelfth Night was an example of her vision of what Shakespeare can be and should be—a rousing, invigorating, re-imagined production that engages audiences and makes the Bard fresh to a new and upcoming theatrical audience.
Numéros en texte intégral
While she will be moving on from the Globe, there is no doubt that her directing and leadership will be appreciated elsewhere and more innovative Emma Rice productions will be appearing in London soon. The play depicts the stories of three generations of women, Carol, mother to Anna, who is mother to Bonnie, and their struggles with depression and suicidal intentions. Whereas in many plays the mother and daughter interact and battle with one another, Birch disrupts this usual narrative pattern by her the mother and grown-up daughter interact.
Instead, Birch opts to stage each character at the same point in their lives, when they are in their 20s and 30s. In order to do so, Birch presents three different time periods at once, allowing us to see the parallels and repetitions between their lives. Not only are there visual overlaps between the three time periods, but the characters also occasionally share dialogue, reinforcing the generational connection between them. Carol, weighed down by motherhood and the limited expectations for women in the s, is surrounded by and exudes silence.
She is often alone and pensive.
When forced to engage in conversation with others, she is stilted and uncomfortable.