NT Live Everyman

http://www.sydneyartsguide.com.au/nt-live-everyman/ This riveting production will enthrall you and give you much to think about. EVERYMAN is Rufus Norris’s first production as artistic director at the National and is a contemporary adaption by poet laureate Carol Ann Duffy of a medieval Mystery Play. At times the rather galumphing rhyming couplets are witty, at times clunky and in the main powerful and dynamic. The designs are quite sparse and functional, combined with excellent use of projections and special effects, storm crashes, lightning etc. The use of the revolve works well. The scene where Everyman’s friends have morphed into luxurious gold robots and he realizes ‘you can’t take it with you’ is great. He is left with nothing but his name and shame. Javier de Frutos’ distinctive at times angular, fluid and explosive choreography is beautifully integrated into the work. Updated to now, Death comes to Everyman on his 40th birthday and announces he has to provide an account to God of his life, We see Everyman appeal to his friends, his family, all of whom are unable to really help him. In the scene with his friends are we meant to see allusions to The Last Supper? The scene with his family– his very ill Mother (Sharon D Clarke), senile Father (Philip Martin Brown, and a very strong, caring but angry sister (Michelle Butterly) looking after them is intense and bitter, sad and revealing, and features sensational performances. Omnipotent God is portrayed as a cleaning woman (Kate Duchen ). God is questioning bleakly as to the current situation of humanity. At the beginning we are informed- “The angels weep to see the ruin of the Earth.” Duchene also brilliantly doubles as Good Deeds, giving a bravura performance as a dying bag lady . Everyman’s Conscience– alter ego /best friend /doppeldanger is given an ironic, biting searching performance by Coral Messam, in some ways similar to Lear’s Fool? Death, in a white mortuary attendant suit and a black beanie with flames on the rim (perhaps Satan) is given a splendid, witty, ironic performance by Dermot Crowley. There is a wonderful monologue where he glowingly remembers the Titanic musicians and the French Revolution. This production however belongs to Chiwetel Ejiofor as Everyman. Ejiofor is best known for his work in Twelve Years A Slave. He has a spectacular, slow-falling entrance from high up– a flashing, kaleidoscope of images conjuring bygone moments of his life. He shines in a towering, bravura performance. We follow his quest and see him change from a rather hedonistic, selfish guy who seemingly has everything to one who has lost everything and seeks answers. A recognisably contemporary man, he is here presented as an archetype of “me-culture”, of self-centered materialism. He’s obviously Catholic and suffers greatly– walking on broken glass and flagellating himself . It is like he is trapped in Purgatory and is waiting to give an his account of himself. The Beatitudes are quoted and the Seven Deadly sins enthusiastically experienced and represented, An orgy and cocaine snorting are featured just for starters. There is a stunning coup de theatre when Ian MacNeil’s design, Paul Anderson’s lighting and Paul Arditti’s sound blend to simulate the effect of a tsunami . As Everyman says though ‘why me? ‘and ‘God, why are you so harsh?’ ‘God, if you are everywhere, it is difficult to understand for us weak humans.’…… The production ends with God’s rather ironic last speech, encompassing her love for all of us. We are each Everyman and our turn may come next… Running time – an hour fifty minutes including a short introduction and a rehearsal documentary. This production is currently playing in London until the end of August. The NT Live screenings of EVERYMAN will screen at selected cinemas as of 8th August.