The impressive and imposing setting of Merton’s Gothic chapel gives this production of Milton’s 1671 tragic drama the weight and atmosphere it deserves.
The play combines a model of Greek tragedy with a Hebrew setting. Taking its inspiration from the Book of Judges, it follows the struggles of the Biblical hero Samson and his attempt to come to terms with his loss of strength and betrayal. The play begins with the protagonist reduced to a blinded captive and unfolds as he is visited by three important figures.
The play is staged as a promenade performance in which various scenes are performed in different parts of the chapel. The audience follows the action around and is herded between scenes by the chorus. This approach gives the play a dynamism which it otherwise lacks.
As the play progresses the action moves from the outer chapel into the main chapel itself. This mirrors Samson’s own character development and emphasises a sense of inevitable tragic progression. The performance is thus rendered visually varied and innovative. The choice of space really does carry the production and adds a heavy solemnity to the action. The staging has been carefully planned to maximise the space available and does so very successfully. With a large audience, however, it could be awkward and huddled. I was put off slightly at the thought of standing for fifty minutes in the cold chapel and having to fight for a view.
The acoustics of the chapel were, on the whole, excellent at maximising the actor’s deliveries. Lines however needed to be delivered more clearly and slowly at times due to the echo. The production uses liturgical chants to aid the movement between scenes, contributing further to the sombre feel of the performance. Music also helps to smooth the transition between scenes and builds on an already great atmosphere.
Bevil Luck’s Samson successfully combined the portrayal of an anguished and broken man with the more self-assured elements of his character, andJames Lowe’s sneering and superior Harapha was very enjoyable to watch. His performance made good use of space and movement. However, I would like to have seen more physicality from the performance as a whole. The longer speeches at times lacked variation in tone and pace. The chorus has a perhaps unavoidably problematic role as observers of the action but unfortunately I felt that they only added to this static feel.
Overall the use of the chapel’s stunning visual backdrop was enough to overcome these more problematic elements. In this way they have succeeded in creating a deeply atmospheric and emotionally engaging production.
three stars
Samson Agonistes is at Merton College Chapel, 24-27 Feb, 8.15pm
