Shoreditch Madonna, Soho Theatre
In the end it’s about love. Once that thought crossed my mind somewhere in the second half, I settled down to enjoy the play. It charts the tangled relationships between 6 characters tied together by their hopes for love, art and an upcoming workshop (by Devlin a formerly great painter) at a squatted gallery space in Shoreditch
I have to declare a possible bias. I know Alexandra Moen, who plays Christina [and incidentally received one of the most appalling reviews from Kate Bassett in the Sunday Independent that I’ve read – not justified in my opinion, although it is true that Alex does spend a lot of time on her knees and is beautiful – see other post].
Rebecca Lenkiewicz received rave reviews for Night Season at the National, but Shoreditch Madonna has been more mixed. Lyn Gardner at the Guardian argues that it is all style over substance, whereas Kate Kellaway (Observer) argues “there is great pleasure in the play’s dazzling, amorous geometry”.
I liked the play, although it took me a little to settle in to it. I think I know what Gardner is suggesting, the production is slick, the acting good, the people beautiful and at the heart there’s no major statement particularly about how we live life today.
Except there possibly is, as the play follows 7 or 8 characters (I count two of the characters as never seen, the son and Christina’s ex, Charlie] search for love in the face of death, loss and the struggle to live life/make art. And it’s this relationship and hope tangle that proves compelling and I think will resonate with some who have seen, experienced or imagined the same conflicts in love and loss. What draws us to those we can’t obtain, why do some lovers linger on in the memory when we should move on, we don’t we show we care before it is too late.
The language of the play is multilayered, sharp and lyrical at turns. Some might find it slightly hollow, others supportive of the overall play structure. It’s also peppered with a fair few art and literary references through out.
The direction was slick but with many short scenes and hence scene changes, there was a constant fight in not letting the tension drop. I think there was a fine balance between the comedy and the intelligence of the play as well. By this, I mean, much of the play could have been played for laughs or played to make you think and there was a balance between these two modes. The night, I saw it, the balance was more cerebral, which suits me and I think was the right choice by director, Sean Mathias.
Acting was strong from all the cast. I liked a particularly tender scene in Act 2 between Francesca Annis and Lee Ingleby but I feel it was a good ensemble effort.
In the end, as in the beginning the play is all about love and specific relationship tangles and is satisfying on this level. A should see if you like relationship plays, a could see if “the big idea” is what you want.
To Aug 6, 2005
Soho Theatre: 0870 429 6883
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About me
I'm a playwright and investment analyst. I have a broad range of interests: food, gardening, innovation & intellectual property, sustainability, architecture & design, writing and the arts. I sit on the board of Talawa Theatre Company and advise a CIS investment trust on socially responsible investments.
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Recent Work
Recent plays include, for theatre: Nakamitsu, Yellow Gentlemen, Lost in Peru, Lemon Love. For radio: Places in Between (R4), Patent Breaking Life Saving (WS).
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Nakamitsu
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Yellow Gentlemen
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