I wasn't entirely convinced by the production, the opening scene in particular seemed to drift on for ever before anything much happened. Some of the costume decisions were also questionable. Becket himself wore motorcycle leathers for no reason that I could discern and while Reginald Fitz Urse (crazy name, crazy guy) had a bit of a Herr Flick, Gestapo vibe going on, the other three knights appeared to be ninjas. The music managed to be both odd and predictable - Cohen's 'Hallelujah' was inevitable - and was at times too loud. However the verse was crisply and powerfully spoken, transcending all the other inadequacies to make it a memorable evening.
Friday 29 May 2015
To do the right deed for the wrong reason
And so to the theatre. I have been to see 'Murder in the Cathedral', T.S. Eliot's examination of, among other things, the dichotomy between man's loyalty to his conscience and the duty he may be considered to owe to authority. I prefer to interpret it as a product of its time - having been written during the rise of fascism - but that may just be because I am constitutionally incapable of any empathy with the inner struggles of god-botherers. There are obvious parallels with Thomas More that other egotistical Lord Chancellor who allowed himself to be martyred, although in fairness to Thomas a Becket he never told lies about Richard III.
I wasn't entirely convinced by the production, the opening scene in particular seemed to drift on for ever before anything much happened. Some of the costume decisions were also questionable. Becket himself wore motorcycle leathers for no reason that I could discern and while Reginald Fitz Urse (crazy name, crazy guy) had a bit of a Herr Flick, Gestapo vibe going on, the other three knights appeared to be ninjas. The music managed to be both odd and predictable - Cohen's 'Hallelujah' was inevitable - and was at times too loud. However the verse was crisply and powerfully spoken, transcending all the other inadequacies to make it a memorable evening.
I wasn't entirely convinced by the production, the opening scene in particular seemed to drift on for ever before anything much happened. Some of the costume decisions were also questionable. Becket himself wore motorcycle leathers for no reason that I could discern and while Reginald Fitz Urse (crazy name, crazy guy) had a bit of a Herr Flick, Gestapo vibe going on, the other three knights appeared to be ninjas. The music managed to be both odd and predictable - Cohen's 'Hallelujah' was inevitable - and was at times too loud. However the verse was crisply and powerfully spoken, transcending all the other inadequacies to make it a memorable evening.
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I don't think I've ever seen a play in which the costume decisions were *not* questionable. The plays, mind you, were in New Zealand, which probably had something to do with it! Eliot's work is fascinating and I would love to see a production of one of his plays. Many thanks for the mini-review.
ReplyDeleteThank you. I have been informed that the other three knights weren't ninjas, but were rather SAS-style special forces. Well that makes much more sense.
DeleteFunnily enough I've just been reading through the back pages of your blog for reports on 'To The Strongest' because we're giving it a go next week.