REVIEW: EARTHQUAKES IN LONDON AT BATH THEATRE ROYAL (30/09/11)
The last few pieces of contemporary theatre I saw were pretty poor, so much so that I’d kind of given up on modern theatre altogether. That is until I saw Earthquakes in Londonat Bath’s Theatre Royal. The play’s exceptional use of music, without descending into the realms of a musical, was a real draw for me. There were hints in the programme with lyrics from REM (It’s The End Of The World…) and The Flaming Lips (Do You Realise) and the show itself blasted out energetic bouts of Nick Cave (There She Goes My Beautiful World) and Arcade Fire (Rebellion (Lies)) among others. This juxtaposition of my kind of music with a cast of talented misfits and some poignant writing made for a thoroughly enjoyable show, for the first half at least.
In fact, I’d probably go as far to say that the first four scenes were the best bit of theatre I’ve ever seen. The opening scene with a young Robert (played by the handsome Joseph Thompson) and his yound wife-to-be (played exquisitely by Natalie Thomas) was a corker, setting the scene perfectly. Then the chaos ensued with severeal scenes interweaved, literally, before our eyes thanks to a rotating stage. It wasn’t too long before you realised you were following the fate of three sisters, each very different and each very intriguing. The matriarch of the family is Sarah (played brilliantly by Eastenders’ leading lady Tracy Ann Oberman). Sarah is a hard-nosed Lib Dem minister who is struggling to maintain a healthy personal life while attempting to address some of the climate change concerns raised within the aviation industry. Next, we have Freya – whom the play is largely centred upon. Freya (Leah Whitaker) is pregnant and in despair. She knows she needs help to cope with her looming motherhood but help is not at hand. Finally, we have Jasmine – a teenage rebel. Jasmine (Lucy Phelps) doesn’t have many friends so she moves from guy to guy looking for something more from life, ending up in the arms of her eldest sister’s husband.
But the main story is not one of family, though the wrought relationship between the sisters and their intellectual and very distant father Robert (played terrifically by the other big name of the play, Paul Shelley) makes for some very touching scenes. No, it’s about climate change. Though the message moves from very faint to overly preachy with little in the way of middle ground. The fact that there’s no evidence that climate change has any bearing on earthquakes means you have to suspend your disbelief somewhat but that is not the most far-fetched thing about this play. For that, you must wait until the fifth scene – though you might be better off leaving before that. It is here that the believable tale turns into some bizarre, Dr Who-esque fantasy but completely devoid of humour. Unlike some of the earlier scenes with teenage hoodlum Peter (played remarkably by female Helen Cripps). Another mentino must go to Gyuri Sarossy, who played Carter, a mysogenistic airline boss who tries, and fails, to get Sarah onside.
It’s a real shame and completely lets this play down. It’s not the fault of the actors, who were all brilliant – especially considering several of them were fresh out of drama school – but of the writer, Mike Bartlett, who has chosen to ignore previous critiques which all seem to point to that final scene as the downfall of this otherwise fantastic play.
Words: Laura Williams
Photo: Tristram Kenton
