James Karas
Common, DC Moore’s new
play, is the type of work that the Olivier stage of the National Theatre is
made to handle. The play is about the enclosure of fields by aristocrats at the
beginning of the nineteenth century, condemning villagers to dire poverty and
worse. One expects to see a dramatization of a significant issue in English
history told through the lives of “real” people.
When the lights go on we see the
huge Olivier stage covered with dirt representing the English countryside. A
number of villagers appear, their heads covered and carrying farm implements. These
are the people who will be affected by enclosure and will fight against the barbarism
of the landed nobility.
Anne-Marie Duff as Mary and Ian-Lloyd
Anderson as Connor in Common. Photograph: Johan Persson
Mary (Anne-Marie Duff), a
well-dressed and clearly upper class lady appears and addresses the audience.
Mary is returning to the countryside in search of her lover Laura (Cush Jumbo).
Laura’s brother King (John Dagleish) drove Mary away many years ago because of
her relationship with his sister. Drove away is a euphemism. He beat her close to
death and left her for dead after throwing her in a river. King’s relationship
with his sister is incestuous.
We meet some Irish workers and
the Lord of the Manor (Tim McMullan) who wants to fence off his lands. Then
things start to get murky. We saw the beginning but where is the middle that
will lead us to the end and the telling of an epic story of personal and
historical dimensions? In other words, what the hell is going on?
Actually a number of things are
going on. We have a talking crow, the slaughter of animals, someone’s guts are
torn out, and another person’s heart is ripped out of his chest. Mary is very
interesting as a former prostitute, soothsayer, manipulator and quite a lady.
She has the staying power of a Rasputin when it comes to attempts to snuff her.
Give full marks to Duff.
The plot trudges along as our
interest and attention span wane. The stage has many trap doors that are put to
good use but the historic vista and the compelling personal stories are lost or
buried.
Anne-Marie Duff and Cush Jumbo
in Common at the National Theatre. Photograph: Johan Persson
Moore’s language helps greatly in
engendering incomprehension and somnolence. He is enamored of inverted phrases,
bizarre sentence construction and liberal use of hyphenated words. He may be
striving for poetic prose or some other effect but all I got as I strained to follow
what the hell was going on was pretentious drivel.
Moore and director Jeremy Herrin had
all the facilities and budget of the National. There were some forty people on
the stage including musicians. In addition to the usual behind-the-scenes
artists, there were people responsible for movement, dance, puppetry and
fights. Rather than descend to the profane language that Moore serves so
liberally, I will settle for an overused aphorism based on the slaughtered pig
of the opening scene: you can’t make a silk play out of a swine’s ear.
_____
Common by DC Moore opened on June
6, 2017 and continues
in repertory at the Olivier Stage,
National Theatre, South Bank, London, England. www.nationaltheatre.org.uk.
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