At RWCMD |
| Therese Raquin , Welsh College of Music and Drama (Caird Studio) , May 23, 2001 |
| With the help of a magnificently designed naturalistic set, a talented cast and ambitious direction, this piece of challenging yet disturbing literature was brought to life leaving many of the audience stunned with what had taken place before their eyes. Under the outstanding direction of Martin Houghton, (who has worked with just about every reputable company in Britain!) a tragic love story between the lost Therese (Melissa Brown) and her husbands childhood friend Laurent (Ben Joiner) unfold just inches from the audience. Performed in the limited space of the Caird Studio, a touching intimacy is created between performer and spectator. Many of the scenes, in particular the wedding night made the audience want to turn away in horror of the sight before them, yet too intrigued to do so they look on wondering what can possibly happen to resolve this terrible situation. The plot basically tells the story of a mother who cares for her weak, pathetic, superficial son Camille (Rob Pomfret) and his wife Therese (who also happens to be his cousin). Set in Paris at the turn of the century, an arranged marriage is not uncommon, yet when Therese falls helplessly in love with the devastatingly handsome, artistic Laurent there seems no option but to dispose of Camille. When Madame Raquin (Tracey Mainwaring) cares for Laurent as her own and then a year later suggests they should marry, the plan seems to have been successful...but for how long? Michaud (Paul Atkins) and his niece Suzanne (Lucy Donovan) provide some interesting moments of anticipation, especially in the second half. They have been cleverly used as devices by both the author and the director. Hougton has taken things a step further by looking at the performance details with great delicacy to help build the tension and create a powerful climax as the lovers meet their fate. The superficial, ridiculous Grivet (Marcus Webb) spent the entire duration of the story ompletely oblivious to anything other than his strict timetable and other people's imperfections! With the help of candles and authentic furniture it is quite easy to believe that what we are witnessing actually is nineteenth century Paris. The notion of divorce was unheard of and completely unacceptable yet arranged marriages within the family was popular, and an adequate way of living for many people. When Zola wrote this play, he had acquired the basic plot from a newspaper article. The fact that murdering Camille was the only way out of the hopeless, loveless situation is a demonstration of how we have evolved and (hopefully) progressed so that this kind of predicament does not occur. The restraints within society and the strong religious beliefs of the time meant that Therese and Laurent could neither live nor die, a dilemma that luckily none of us (should) have to face in that context due to our more liberal, democratic society. |
Reviewed by: Victoria Cooper |
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