To choose to make one’s directorial debut with a piece of new writing about a Norwegian theatre academic is a bold – perhaps even foolhardy – move. I can say, then, with a little relief and a lot of pleasure, that Ed Bell appears to have pulled it off with some success.
The Burton Taylor can, at the best of times, err on being a rather stark venue: the set and costumes, being largely monochrome, deal with this well, and visually work together with the space to create an appropriately moody, Scandinavian feel. Lighting and sound decisions are judiciously made, and work well to lift the more ponderous aspects of the show.
I cannot say (from her rather Teutonic name) whether flame-haired leading lady Carolin Kreuzer’s accent is a conscious directorial decision or a fortunate casting opportunity: regardless, it helps to establish a thoroughly European soundtrack which adds much to the piece. She is to be commended for a truly captivating performance, well juxtaposed by consistently strong Dan Draper, who uses his physicality to striking effect. Actually, the acting in this first night was consistently excellent, let down only on very few occasions by slight quirks of the script. Writer Matt Perkins has been rather audacious in his choice of genre, and, though he does generally deliver, might have benefited from a more ruthless editor.
The script is itself very strange, and at times genuinely mystifying. Bell has worked well with its more allusive qualities, largely to fairly standard tropes of classic Noir pieces, to create a production that is fresh, interesting and, above all, a real pleasure to watch.
I urge you to take an hour out of your week to see this rather impressive piece: the cast and crew are to be commended on a solid, well-polished and tremendously interesting production.
Three and a half stars
