“Glimpses of brilliance”
Margerite Duras’s sensational autobiographical novel about an affair between a 15-year-old girl from a poor family and a Chinese millionaire almost twice her age is certainly potent stuff for stage adaptation, and presenting this spoken word/dance interpretation on the backdrop of #MeToo and #ItsTime is a brave choice for co-collaborators The Royal Lyceum Theatre Edinburgh, Stellar Quines and Scottish Dance Theatre, which will be sure to attract interest. Unfortunately, given the finished product, it probably won’t be the level of interest hoped for.
The performance is narrated throughout by The Woman (Susan Vidler), who looks back on how her affair began, developed and ended. Jemima Levick’s and Fleur Darkin’s adaptation is somewhat lazy in its construction, with too many unnecessary accounts of (mimed!) dialogue and a plodding monotony which Vidler’s voice does little to enliven, leaving the other performers often stranded in the middle. Indeed, the confluence between text and movement seems at odds throughout, feeling not unlike a playground grapple for territory.
Darkin’s choreography at times gives glimpses of brilliance – from the awkward intimacy between the lovers to the playful fights between Paulo and Pierre – and the production’s moments of stillness (particularly towards the end) and subtle gestures often convey far more than the tedious narration. Yet, in saying that, the choreography also too often lapses into writhing around on the floor and clumsy movement of furniture which instantly breaks any of the mysticism and poetry previously built. It’s a genuine shame not to see lengthier dance sequences to tell the story at the sacrifice of some of the narration, while simplifying and minimising some of the on-stage antics would also ease comprehension.
In The Lover’s defence, Emma Jones’s lighting design and Torben Lars Sylvest’s soundtrack do pleasingly act as mediators throughout, dragging the other disparate elements into a clear time, place and mood. Yet the overriding impression this performance leaves – much like the subject matter of the show itself – is one of misfit: an attempt to bring together two different hearts for glorious joy, yet which ends up flat and, somehow, unfinished. What could have been.
In my book, this is a production that should have worked – it has enough of the right cards (including three great collaborating companies and a fantastic base text) to play a good hand – yet it dithers and dallies its way into such a mediocre result that my only constructive criticism would be to start again from scratch. A commendable concept, poorly executed.
Reviewer: Steve Griffin (Seen 23 January)
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