CurtainUp
CurtainUp

The Internet Theater Magazine of Reviews, Features, Annotated Listings
www.curtainup.com


HOME PAGE

SITE GUIDE

SEARCH

REVIEWS

REVIEW ARCHIVES

ADVERTISING AT CURTAINUP

FEATURES

NEWS
Etcetera and
Short Term Listings


LISTINGS
Broadway
Off-Broadway

NYC Restaurants

BOOKS and CDs

OTHER PLACES
Berkshires
London
California
New Jersey
DC
Philadelphia
Elsewhere

QUOTES

TKTS

PLAYWRIGHTS' ALBUMS

LETTERS TO EDITOR

FILM

LINKS

MISCELLANEOUS
Free Updates
Masthead
Writing for Us
A CurtainUp London London Review
The Family Reunion



Everything is irrevocable; the past is irredeemable— Agatha
The Family Reunion
Penelope Wilton as Agatha
(Photo: Johan Persson)
In the wake of their dominating success at the Evening Standard awards, the Donmar Warehouse has emerged as a champion of serious, commercially-viable theatre, consistently attracting big names to their small stage. Their T.S. Eliot Festival, opening with The Family Reunion, continues this regime: an antidote to the glut of glitzy musicals currently holding sway in the West End. Also including readings from his verse, Four Quartets, Murder in the Cathedral and The Cocktail Party, this season will redress the fact that until recently, only Lloyd Webber's version of Old Possum's Book of Practical Cats represented one of our finest dramatic poets on the London stage.

The Family Reunion's subject of sin, inner torment, pollution and expiation within a 1930s drawing room emphatically juxtaposes the commonplace and the profound. However to modern audiences, the everyday mundanity of the early twentieth century, such as dressing for dinner, is almost as alien as the Aeschylean influence. The metaphysical exploration of guilt and redemption is far removed from contemporary drama, let alone the choric ritualism of verses recited in unison or the moments of Delphic oracular yet cryptic revelation. Added to the often gnomic and abstract language, is the fact that Eliot insisted upon the now hideously unfashionable medium of verse. There are therefore certain barriers to the accessibility, alongside the sheer beauty, of Eliot's poetry.

Within these constraints Jeremy Herrin's direction wisely focuses on strong, clear performances in a sleekly dark production, sometimes favouring explication at the cost of visceral emotion. Sam West's Harry maintains his clipped 1930s accent throughout his haunted torment, but also manages to convey the warmth and sympathy of his tortured, if obscure, predicament. Gemma Jones puts in a doughtily formidable performance as Amy, the elderly matriarch only kept alive "by force of her personality". Penelope Wilton's Agatha adds an air of wise pragmatism to the stage, whilst Hattie Morahan gives a nuanced, lively and empathetic performance as Mary. Moreover, there is sterling support from the stately William Gaunt as the Honourable Charles Piper, the only chorus member whose blinkered vision begins to widen.

The design by Bunny Christie features tall mahogany panels and casement windows, which appropriately enough add an air of genteel sombreness to the family home. Concealed at the back of the murky stage are hidden entrances to allow sudden ghostly appearances onstage. In keeping with the eerie atmosphere are the Eumenides, here portrayed as small, ghoulish boys carrying large butterfly nets in a brilliantly inspired idea to create an era-specific version of the Greek mythic avengers.

This production bravely tackles a gargantuan task: a classically momentous play with unwieldy text, densely textured poetry and high-flown circumlocution. Embracing the formality and ritualism, especially of the chorus, Jeremy Herrin also finds room for innovation, not least with the Eumenides. There is a strongly-evoked sense of the past's lurking layers and the corruption of time's natural progress, as well as a chilling atmosphere of fate and lack of free will. Nevertheless, inside this tightly controlled milieu and within the precise, dated setting, expert performances hint at the timelessness of Eliot's themes.

The Family Reunion
Written by T.S. Eliot
Directed by Jeremy Herrin

Starring: Gemma Jones, Penelope Wilton, Samuel West, Hattie Morahan
With: Una Stubbs, Anna Carteret, William Gaunt, Paul Shelley, Ann Marcuson, Kevin McMonagle, Christopher Benjamin, Phil Cole, Charlie Coopersmith, Ben Galvin, Elliot Horne, Thomas Huttlestone, Joss Littler, Harry Scott
Designer: Bunny Christie
Lighting Designer: Rick Fisher
Composer and Sound Designer: Nick Powell
Running time: Two hours 35 minutes with one interval
Box Office: 0870 060 6624
Booking to 10 January 2009
Reviewed by Charlotte Loveridge based on 29th November 2008 evening performance at The Donmar Warehouse, 41 Earlham Street, Seven Dials, London WC2H 9LX (Tube: Covent Garden)
REVIEW FEEDBACK
Highlight one of the responses below and click "copy" or"CTRL+C"
  • I agree with the review of The Family Reunion
  • I disagree with the review of The Family Reunion
  • The review made me eager to see the The Family Reunion
Click on the address link E-mail: esommer@curtainup.com
Paste the highlighted text into the subject line (CTRL+ V):

Feel free to add detailed comments in the body of the email and state if you'd like your comments published in our letters section.

a list of all book reviews, see our,
VALVESGate valvePRESSURE VALVESGlobe valveCHECK VALVES
London Theatre Tickets
Lion King Tickets
Billy Elliot Tickets
Mighty Boosh Tickets
Mamma Mia Tickets
We Will Rock You Tickets
Theatre Tickets
Google
high pressure valve
manual valvevalvesvalve company motorized valveball valvepressure valve buy valvebutterfly valve Check valvereturn valve
Web    
www.curtainup.com
London Theatre Walks


Peter Ackroyd's  History of London: The Biography



London Sketchbook



tales from shakespeare
Retold by Tina Packer of Shakespeare & Co.
Click image to buy.
Our Review


©Copyright 2008, Elyse Sommer.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com