"The whole is greater than the sum of the parts" is a phrase often attributed not quite correctly, to Aristotle. But it's one that works well in describing this play. It was a performance that's easy to criticise, but manages to overcome the flaws to deliver something that lingers in the mind for some time after. The acting is very competent, but without anyone threatening to turn in a really notable performance. The script has plot holes aplenty, and flags a bit towards the hour mark. The accents are all over the place and it isn't always clear if the characters are meant to be speaking in French or English at some points. And the lighting effects look cheap and tawdry. But when the end came round suddenly I was genuinely surprised that ninety minutes had flown by, and felt impressed by what I'd watched.
We begin in a Degas exhibition in a New York gallery. Among the famous artist's works lurk two portraits by the almost unknown Paul Cézanne, as examples of the kind of work which influenced the great man. The paintings, one a self portrait (Mark Coleman) and the other of his gardener (Fergus John McCann), are in conversation. The selfie persuades the other to mingle with visitors, choose one, and present them with a few quickly written notes and a special paint brush. He chooses Nora (Elaine McKergow), a painter feeling bitter about her own lack of success. She receives the notes, takes the brush and... is transported back to Aix in 1900, in Cézanne's studio. Once she and those she encounters get over the shock the impact of the notes come into play. Will the Frenchman understand his own voice from the future? Will Nora ever make it back to her own time? And what part does Bessie (Serena Doran), an American writing about French artists, have to play in the proceedings?
The plot holes are excusable in the complex issues that time travel raises. The lighting effects were no doubt constrained by budget. And the audience quickly settles into trying to understand the relationships between the four protagonists and how their futures are influenced by one another. The time travelling trope is well worn, but feels fresh here by looking at the impact of outside influences, even the smallest of changes, on artistic endeavour and the drive for creativity. We wonder how the intervention of Nora will turn Paul from an unknown in the 2016 she left, to one of the most famous artists of his period in our reality. And are left with some answers and fresh questions. Along the way there are laughs, there is sadness, and a real sense of humanity.
Very definitely greater than the sum of those parts, and well worth seeing. I get the feeling this is one of the Fringe shows that will still be in my head when the month comes to a close.
Visiting Cézanne is on at 14.50 in The Hill Street Theatre until the 28th.
No comments:
Post a Comment