maanantai 4. maaliskuuta 2013

The Curious Incident - kriitikoiden suosikki

Maaliskuussa ensi-illan Lontoon West Endillä sai NT:n loistonäytelmä The Curious Incident of the Dog in the Night-Time, joka siis siirtyi pieneltä Cottesloe-näyttämöltä Apollo Theatreen. Osa näyttelijöistä vaihtui samaan syssyyn, eli mm. Una Stubbs jäi pois (harmi!).

Arvostelut myös Apollon versiosta ovat olleet henkeäsalpaavia! Tässä muutama näyte:

London Evening Standard (tai lähinä kriitikko Henry Hitchings) kehuu Lukea Treadaway:tä vuolaasti 13.3. peräti viiden tähden arvoisesti:

Treadaway was tremendous when the show premiered at the National Theatre in August, and he is now even better. Marianne Elliott’s production, which then felt dazzlingly inventive, has been rejigged to fit a larger West End space with different sightlines. No longer staged in the round, it makes a freshly powerful impression.


The Curious Incident is a beautiful, eloquent show about the wonders of a life that initially seems hopelessly constrained. And Treadaway is thrillingly good: I don’t think there’s a better performance right now on the London stage.

Ei se 13.3. ilmestynyt Metrokaan kovin paljoa hauku (4 tähteä):

Luke Treadaway reprises his role as Christopher. In the book, the character can seduce you with his relentlessly logical thought processes. Here,  Treadaway’s performance works because he makes no concessions towards being liked. A fiddling mass of tics, groans and flailing anger, he speaks imperiously and with a heavy dose of petulance, completely unable to see beyond his own needs – and, of course, utterly unrepentant about it.

Teatterilippuja myyvä Last Minute Theatre Tickets-blogi kehuu myös:

Everybody can recognise something of themselves in him, and whilst the supremely talented Luke Treadwell’s Christopher is too belligerent and aloof to be quite likeable, he is extraordinarily believable and sympathetic.

Bunny Christie’s dramatically linear stage design is brilliantly evocative of Christopher’s thought patterns and mathematical rationale, even if it sits rather oddly against the gilded opulence of the Apollo; after all it was designed for The National and I imagine it fitted perfectly well there. Together with Paule Constable’s lighting, Fin Ross’s video, Adrian Sutton’s music and beautifully fluid movement direction by Frantic Assembly we felt as though we were actually in Christopher’s head, feeling his confusion, fear and isolation. The terrifying moment when he arrives in the hustle and bustle of London is particularly effective, almost taking your breath away, as is the dreamlike portrayal of Christopher contemplating the stars. Director Marianne Elliott steers her frenetic and volatile production safely through the rocks; in her hands every word, every movement feels as though it is landing in exactly the right place.

Googlettamalla löytyy tukuttain lisää arvosteluja, selkeästi yksi vuoden teatteritapauksista Lontoossa. Oli sitä toki jo viime vuonna kun sai alunperin ensi-iltansa.

Ja kehui sitä toki The Telegraphkin, joka antoi esitykselle 5 tähteä!

Still, there is, as Keats used to say, a beauty in truth, and it shines out in everything that Luke Treadaway’s Christopher Boone has to say in The Curious Incident of the Dog in the Night-Time. “I can’t tell lies,” the lad says, almost apologetically, as if it were a curse. He is very precise – he’s “15 years, three months and three days old” – and always compulsively logical. 

A lot of actors impress, but precious few can make an audience care about them. Treadaway, however, manages this to devastating effect. 

(Kuvat Apollon harjoituksista, Luke lentää!)

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