'Everyman'
The National Theatre, Southbank
8th August 2015, 2:00pm
I think the sweet spot for any modern director when tackling an old legend is getting that balance. A play which can emulate the charm and message of the original text, yet with a modern recontextualisation which can appeal to contemporary audiences. 'Everyman' attempted this, with Carol Anne Duffy making the bold attempt to adapt a 15th century morality play, into a modern materialistic tale of drink, drugs and partying.
The play's opening was certainly an impressive start to this, as audiences were presented with an elaborate physical theatre portrayal of a 40th birthday party. Here the ensemble of 22 moved dynamically and often in synch to snort lines of coke off forever moving tables, chanting an original song 'happy fucking birthday'. This, for any aspiring actor was what you wish to see from an ensemble, the slick, in unison movements being to a standard that most wish to reach, as well as achieving the desired effect of disorientation from the pace. From here it certainly felt that the play was going to remain at a level to which we could all identify with, the modern party etiquette of drinks, drugs and dancing something which we are all at least familiar with. I fear to say however that the play reached a peak with this beginning, the following tone failing to keep that sense of identification with the present, instead fluctuating between the modern and original context of the play.
I feel the means for this lack of balance was the fact that the piece followed the frame work of the original text, poet Carol Anne Duffy (script adapter) keeping the original character names of 'Everyman' 'Death' and 'God', typical of the morality play, as well as much of the archaic language. I feel her reasoning for this was in order to make the idea of an 'Everyman' a timeless one, keeping that name in order to assert the idea that the term is as relevant today as it was in the 15th century. I feel the sustaining of the language was a necessary one in order for the play to be seen as an adaptation rather than a new 'Everyman', yet this came at the price of the play failing to hit the modernisation to which it aspired. It was fine when we were faced with the very entertaining musical numbers of William Lyon, enriched with modern language, swearing and the glitz and glamour of gold armoured shop assistants, yet the moment the play plunges back in the more original sections, it looses that element of sparkle.
In saying this, it doesn't mean the actual quality of the play was anything to be desired, much the contrary the piece was incredibly strong in all areas the way The National Theatre only ever works. Very strong performances came especially from Dermot Crowley as 'Death', bringing an element of funny Irish charm to the part, providing the perfect balance for the gritty reality of his threatening words, which force the Protagonist 'Everyman' on his journey to better himself before facing death. His sarcastic elements reminded me a lot of Arthur Darvill as 'Dr Faustus' Mephistopheles, the admirable interpretation of a enemy death figure as comic relief. Similarly strong was Kate Duchene as the refreshingly female god/morality figure, one of the most poignant parts of the play for me coming from her speech in the rubbish dump where her exasperation with Everyman reaches it's climax. For me this was one of the realest moments in the play which allowed the audience to question that stereotype of an invincible God, and that he too can reach the end of his tether. My only comment would be that had Duchene have been a little less infuriated before this point, it would have been even more of an impacting moment, as previous to this, she seemed a little more angry and subsequently one toned than needed. Obviously all roles are subject to interpretation, yet my own yearned for God to have made the most of those niggles of comedy in her dialogue which I felt didn't quite come through. Talking of one toned, I regret to say that this was the very word to describe protagonist Chiwetel Ejiofor. From start to finish he was undoubtedly strong, with some of the most admirable diction and annunciation I have seen in live theatre, yet there were moments I really wanted to see him strip it back rather than play up to the audience. He seemed exasperated throughout, I suppose a fine portrayal of a man about to die, but sometimes less is certainly more. Had he have had those levels, I feel the audience could have identified a little more with his character which has been constantly knocked as an ineffective 'Everyman' due to his rich living.
http://www.nationaltheatre.org.uk/shows/everyman
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