My first review is of an intriguing but uneven new work from Timberlake Wertenbaker currently playing at the Arcola theatre in Hackney. Wertenbaker’s play is now infamous for the furore the playwright caused when the critics responded with unfavourable reviews; she accused them of being in no fit state to judge the merit of her play when they arrived from an alcohol-fuelled awards dinner rather the worse for wear. I was in a more sober state when I attended last night and have to say that this play was by no means boring or unsophisticated and neither was it overly complicated.
The work centres on Degas’ relationship with his protégé and muse Susan Valadon, her picaresque progress from a poor and roguish young woman to an accomplished artist, and Degas’ decline in old age with the faithful housemaid Zoe by his side. Engaging and energetically acted by the trio of performers, the play ultimately didn’t manage to sustain the brilliance that shone through at very occasional moments. Sarah Smart acted the young Valadon with a humour and gusto that failed to convince but she was mush more skilful playing her older self in the second half; her final monologue followed by the closing scene with a dying Degas were the best of the play. Henry Goodman gave the best performance of the night as the hypochondriac artist; he garnered the most laughs but his inner turmoil was always subtly present behind his bombast and exaggerated grouchiness. Selina Cadell brought humanity to the character of the long-suffering Zoe and was able to express worlds through her demeanour and facial expression. The set was impressive but didn’t need to be as fussy as it was; I thought it was rather unnecessary to have so many reproductions of Degas’ work present. Ultimatley, despite the overly didactic tone, this play was throught-provoking and really grappled with ideas of artistic creation, talent and formalism.
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