Is there a necessity for political theatre in London’s
contemporary theatre scene? The South Bank’s National Theatre’s production of
Tena Štivičić’s newest piece of playwriting, ‘3 Winters’ was one that
absolutely informs us of the rise of Croatia from 1945-2011, also the
performances were well presented over the course of the production.
‘3 Winters’, as previously stated is set during these
specific periods of Croatia’s independence movement, moreover, the action takes
place at the Kos family home, in Zagreb. At first, we are transported to 1945,
at the end of World War II where those who were associated with the Nazi regime
have been governed to leave their respected homes. Rose King (Jo Herbert), her
husband, Alexander (Alex Price) and her mother Monika (Josie Walker) are currently
homeless, and frantic to seek refuge in a home that was once owned by an
officer who has been exiled from the country. Rose chooses a key to a house
that’s extremely personal to her mother, and herself as her mother was once the
servant to the family who owned the mansion.
However, they soon realise that the supposedly vacant residence is
already occupied by the original lady of the house, Karoline (Hermione
Gulliford) has been secretly living there, after escaping a psychiatric
hospital. It appears that Monika was thrown out of the house whilst she was
pregnant with Rose, and as such Rose is quite bitter towards Karoline, but understands
that Karoline is enormously apologetic and is permitted to remain as a resident
in her own home. During 1990, we learn
that the house remains an unowned residence, Masha’s (Siobhan Finneran)
daughter’s Lucia and Alisia have opposing views on whether the house should be
maintained by one family only. Lucia believes that it should be retained by the
Kos family; on the other hand, Alisia thinks that the number of families should
be allowed to live in the huge mansion. As the Kos family, along with their friends,
and Karoline (Susan Engel) are gathered for Lucia’s wedding, we learn that
Lucia has been planning a dastardly deed, where her soon to be husband has now
purchased the once nationalized house, this means that the fellow occupants are
no longer allowed to live there. This
frustrates Alisia immensely as she feels betrayed by her sister’s actions, as
does Marko (Alex Jordan/Gerald Kyd); as such this instigates a decline to Lucia
and Alisia’s strong sibling relationship. Štivičić’s narrative is incredibly enthralling as one who did not have
any prior knowledge and understanding of this point in European history, also
the play enables one to grasp how poignant it was to be able to own your own
home when you could not do so.
One found the performances by the company of ‘3 Winters’ was
pleasingly compelling in each of the specific time periods. Sophie Rundle is grand as the youngest
daughter, Lucia; chiefly her heart-warming relationship with Karoline, who
initiates Lucias’ interest into purchasing the home for her family only as it
should “rightly remain within the family”. Jodie McNee is splendid as Lucia’s
eldest sister, Alisia; exclusively when she endeavours to apologise to Marko for
her sisters’ treachery, which does not exactly help the matter as each family
has been paid to move out.
Howard Davies’ direction is fabulous here as he has captured
the spirit of Štivičić’s writing with great effect, as well as, he has
connected both the historical, social and political contexts in such a pleasant
and though-provoking method with a level of precision that is well polished. Tim Hatley’s design is sublime as the
transitions between the 1945-1990 eras works wonders with the amazing scenic
art and scenic construction elements, and complemented by Jon Driscoll’s
projections as a method to show the changes of time. Overall, one found the experience of ‘3 Winters’
to be an educational one and a lovely addition to the National Theatre’s
archive of work.
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