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Posts Tagged ‘Andy Purves’

I’ve been following Frantic Assembly for a long time now. Their unique brand of physical theatre is captivating and you’d know this was a FA show within minutes. With designer Jon Bausor on board, extraordinary lighting (and darkness) by Andy Purves and a terrific soundscape by Carolyn Downing, this one adds mystery and atmosphere to the stylised movement.

It takes a while to comprehend Byrony Lavery’s narrative; in fact, I’m not sure I did fully comprehend it! There seems to have been a storm and one couple visit another’s home and their daughters get to play together. There’s a bit of a culture clash between the families, one a bit new age and the other more conventional, and there are mysterious events. The conventional couple’s daughter seems to have behavioural problems but the hippy couple’s is grounded.

Some of Bausor’s metal frames are manipulated by the four actors, sometimes with another actor in them. An elevated frame structure houses actors, who appear at odd angles, seemingly completely horizontal at times – I’m not sure how they pulled this off, but I suspect it involves mirrors. The lighting highlights just enough for the purpose. The brooding sound design adds much to the tension.

This isn’t a show to be too literal about. It’s a unique visual and atmospheric experience that intrigues and hypnotises you. I think it is let down by the obtuse story / narrative, but Scott Graham’s production provides 75 minutes of intrigue and tension. Go see for yourself.

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You know you’re at a Frantic Assembly show soon after the curtain goes up. They have a unique style which blends narrative, movement and visual beauty with an atmospheric sound scape. I must have seen more than 10 of their shows over the last 15 years or so and though they have evolved from edgy and visceral to poignant and thoughtful they are still distinctive.

This play tells the story of a couple at both the beginning and end of their relationship. The stories weave together and overlap and you learn a remarkable amount from the minimum of dialogue. From the beginnings of their relationships we see them establish themselves, buying their home and business premises, and surviving the wife’s unfaithfulness to grow old together. With their older selves, we live through life’s endgame and in particular Maggie’s terminal illness and death. This all sounds very depressing but, though it is occasionally sad, it didn’t feel like that because it’s actually very beautiful.

The stage is covered in leaves with a backdrop of tall screens set at angles to one another, onto which moving images are projected. The bedroom is to the right – just a wardrobe and bed – and the kitchen to the left – just a fridge and table & chairs. Simple but rather lovely. The actors often glide silently past one another, sometimes the old or young couple, but sometimes one of each or all four. The wardrobe and bed entrances are simply extraordinary and there’s a scene towards the end when all four are on the bed that takes your breath away.

There is an ambient music sound scape for almost the entire 90 minutes (a little too much in my view) which added to the movement and visual style creates the feeling of flowing through these people’s lives. It was a little slow in parts, but the overall impression is of watching entire lives unfold before you. At then end, the only word that would capture what I’d experienced was ‘beautiful’.

All four performers are excellent, but it’s a particular treat to see Sian Phillips in such an innovative and challenging piece at this point in her career. Film and TV writer-of-the-moment (Iron Lady and The Hour), Abi Morgan, provides a minimalist narrative which allows the other components to make equal contributions. The design of Merle Hensel (with Andy Purves’ lighting, Carolyn Downing’s sound and Ian William Galloway’s video projections) is perfect. Scott Graham & Steven Hoggett’s direction and choreography is, as always, thrilling.

Not everyone will like this unconventional and inventive show, but I did – very much.

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