Sometimes, I wonder why we do it. Why we sit through theatre which is so often painful, boring, overlong, mediocre or – more often than not – just fine and unmemorable and nothing more.
And then comes along a play where everything just comes together, a play which stands up and reminds us why theatre is worth the mediocrity, worth the disappointments, worth the subsidy. Just occasionally, there comes along a play which silences every debate and makes its own argument as to why theatre is important, why theatre is unique – because it is the place where you get moments you get nowhere else.
Earthquakes in London is one of these plays.
The plot follows the three daughters of a prominent climate scientist, as they attempt to deal with his radical theories promising doom to the world: Sarah (Lia Williams) has entered politics and plans to ban all future airport expansion; Jasmine (Jessica Raine – making something of a habit of playing the disgraced teenage relatives of female cabinet ministers in the Cottesloe) engages in boilerplate teenage rebellion; Freya (Anna Madeley, superb) considers infanticide to save her daughter from the horrors of the coming apocolypse.
Mike Bartlett’s writing is complex and intelligent, but remains deft and funny throughout – never preaching (imagine the hours of your life that could disappear on this subject in the hands of the unremittingly worthy David Hare…)Â but convincing nonetheless.
Rupert Goold’s fluid direction matches the text pound for pound. The staging makes the Cottesloe unrecognisable, transforming the space into a traverse stage of sorts, but one in which the action seems to go on all around you. The use of music is slick, with the cast’s (admittedly slightly incongruous) performance of I Am Not A Robot an inexplicably moving high point.
There are plenty of other examples of lovely directorial touches, but let’s just leave it at this: it works. It all just works.
It’s a strong ensemble, with Anna Madeley and Tom Goodman-Hill getting the best crack at things from the script and impressing most. Â It’s s shame that Geoffrey Streatfeild (who has previously impressed) doesn’t get much of a chance to stretch his wings, but this is a great cast and there can be no complaints.
This production is sweeping and epic without being impersonal, important and political without being a thesis, intense and emotional without being mawkish. Â It’s everything that a dozen plays have tried and failed to be.
This is a superb play, beautifully and boldly realised by a cast that do both the text and the design justice.
You wait years for a play like this. Â Book now.
I saw this on Friday and thought it was beautifully done-though the futuristic bit at the end made me giggle, which I don’t expect was the desired effect! I agree about Geoffrey Streatfeild-I think he’s an incredible actor and I wish he’d had more to do. All three of the main women were great, but for me Jessica Raine stands out. Harper Regan was dreadful and she managed to be brilliant in it-I hope she’s got a really bright future.
Nice review-thanks for sharing it.
Agreed – we saw it on Sauturday and loved it. After Danton's Death, which we saw and hated, getting good critical reviews, I expect the critics will pan this. If they do, ignore them. It's a truly wonderful way to spend an evening. Go for the 'high bar stool' seats – don't ask, just do it. Anyone with any sense of theatre will love it.
Agree on the bar stools – things felt a little distant from the second balcony, even though it's a small space.
The critical reaction will be what it will be – but I've seen some pretty negative takes from other bloggers already, so suspect it will polarise people.
Saw this show twice now, I must say the first time I was less willing to accept the spacey ending but the second time round I was expecting it and was able to connect to the emotions in the second half far easier
Also yes I agree get bar stools, but DONT get standing seats, with a first of half of over 2 hours you will regret it and begin to get restless and start to miss out on the plot and it will just drag by.
Also there was a great use of music in this production. Arcade Fire and Coldplay popped up and were just brilliant.
I would just like to ask if anyone knows the song used in the second to last scene (the one with Freya being seen by everyone (trying not to give the plot away :P) whilst shes on the bed…) then please let me know I love it so much, it starts with a little bit of piano playing but then some vocals come in later. If you know please email me at jcja285@hotmail.co.uk, or even if you’d just like to ask some questions about the show I’d be happy to answer them to the best of my ability.