Unfortunately, this one didn’t really do the business for us.
I said to Janie at the interval, “if this play manages to pull together all of its big and disparate themes in the second half, we’re in for one cracker of a second half.” I didn’t think it would. It didn’t.
Strangely, I don’t think we’d ever seen a Christopher Shinn play before. I say strangely, because he has had so many of his works performed at the Royal Court Theatre Upstairs, which we frequent a lot. Perhaps the subject matter has never appealed to us before.
This sounded interesting from the Almeida blurb and indeed it was interesting subject matter. Too much of it; violence in society, sexual politics, religion, workers’ increasing sense of powerlessness…
…but the performances were all very good. They seemed, to us, wasted on this play.
Tellingly, the Almeida resource does not link to reviews, so here are a few links:
To help rescue our evening, we ran into Jilly Black sitting, with a friend, a few rows behind us. We chatted with them after the show; indeed Janie dropped them at Baker Street giving us quite a bit of very pleasant post show chat time.
It is not very often that we bemoan the extra few minutes journey time to the Almeida; normally that place is well worth the extra few minutes each way, but this piece left us warm to the interesting topics but decidedly cold to the play,
By the time we got to our seats, Janie and I had probably had enough suspense, drama, excitement and surprise for one day.
We’d been following the ODI cricket all day, which was well poised when we left Noddyland, in good time to get to The Almeida.
In fact the traffic was very light, enabling us to take an unusually direct route, but that didn’t stop the cricket from taking more twists and turns than a Sat Nav assisted London journey in a traffic jam.
Janie was convinced England were going to win throughout the Saffer chase; whereas I was less optimistic in the absence of early wickets for England on a very flat track. But between the time we drove past Madam Tussaud’s to the time we drove past the Wellcome Collection, the Saffers reduced the ask from 26 runs off 13 balls to 10 runs off 10 balls. Even Janie briefly thought England were as stuffed as…well, waxworks aren’t technically stuffed, but some specimens in the Wellcome Collection must be.
The worst part about listening to the end of that cricket match in the car was waiting to turn from White Lion Street onto Islington High Street, when the Saffers needed just four runs off the last two balls. The radio signal hit one of those building-affected interference spots and we couldn’t hear a thing for about a minute – which felt like an hour. As we emerged onto the High Street, we soon learnt that we hadn’t missed a ball; merely a lot of faffing around in the field. Phew.
So the match was won – scorecard here – just as we arrived at the Almeida. Double-phew. We sat in the car a while to decompress and hear the post-match punditry.
The Almeida was heaving by the time we entered, a little after 19:00. We collected our tickets, bought a programme, ordered our drinks and found a quieter spot in the corner of the bar. Janie wanted to read the two or three sentence promotional teaser for the play, which was absent from the programme but is the information that enticed us to book the play. I volunteered to get her the little promo card, via the loo.
As I weaved through the heaving foyer/bar area, at one point a fellow, with his back to me, was standing in a particularly obstructive place, making it impossible for me to get past. I tapped him gently on the shoulder and said, “excuse me, may I please get past you?”, to which he replied, without turning around, “NO. You can go all the way around the other side instead.”
Janie had met Ollie and indeed Ollie’s other half, Victoria, a few months ago at Chris Grant’s alumni do, so we needed little reintroduction, chatting briefly before the play and then again at some more length about the play during the interval and after the show.
It is one of those plays that gives you plenty to chat about.
The Treatment has had superb reviews (as evidenced in the above Almeida resource), but one of Janie’s clients had absolutely hated this play, describing it as “rubbish”, so we went with a little trepidation. That particular client/lady often has taste that corresponds with ours. But on this occasion Janie’s client got it wrong; I can see how the play (indeed Martin Crimp’s writing generally) wouldn’t be to everyone’s taste, but it is very interesting and far from rubbish.
Martin Crimp’s plays are (in our experience) always sinister and weird. The Treatment (which Crimp wrote and was first performed in 1993) echoes some of the themes Crimp also covered in The City – which we saw at the Royal Court in 2008 and which I Ogblogged here. In particular the crazy, suspenseful nature of cities. Menace that is partly overt, partly covert; some only in our minds, some all too real.
Coincidentally, Benedict Cumberbatch was in the audience with us, sitting very close to or even next to Ollie and Victoria. As a young, up-and-coming, virtually unknown but clearly very talented actor, Cumberbatch starred in that production of The City (and indeed Martin Crimp’s version of Rhinoceros at The Royal Court – Ogblogged here). I think we first saw Cumberbatch at the Almeida as it happens, as Tesman in a superb production of Hedda Gabler in 2005.
Benedict Cumberbatch also plonked himself at the next table to ours during the interval, much to the complete nonchalance of Janie, Ollie and Victoria…until I pointed him out to them.
Actually, these days Benedict Cumberbatch is everywhere and in everything, so on that basis this encounter was hardly a coincidence. Indeed, given the size of the cast used in The Treatment it’s a miracle that Cumberbatch wasn’t in the play rather than merely watching it. Stranger still that Janie and I didn’t see him eating at Ranoush in Kensington later in the evening. Absolutely everywhere, he is.
Janie and I will find ourselves talking about this play for some while, I’m sure; certainly for the rest of the weekend…and this is a long weekend. That’s the sign of a good play to us. We also thought it was a superb production, with excellent performances and very innovative stage direction/set design.