Thursday 9 July 2015

'Everyman' National Theatre, Olivier ****

What materialises when one is man's being is interrogated, due to the fact that his entire lifestyle is downright self-obsessed, also the relationship with his parents and sister is apprehensive? The National Theatre's production of Carol Ann Duffy’s up-to-date version of, ‘Everyman’ was a titillating understanding of a person’s destiny, moreover, the performances where likeable throughout.

‘Everyman’ is set in extreme world of businessman, Everyman are celebrating his 40th birthday at expensive London nightclub with his “so-called” friends; such as, Discretion (Kristina Stamell), Sight (Ira Mandella Siobhan), Conscience (Coral Messam), Sound (Paul Bullion), Strength (Nick Holder), Passion (Adam Burton), Smell (Nicholas Karami) and many more. The party consist of sniffing lines of cocaine and drinking affable amounts of alcohol. The after affects, as you’d expect Everyman vomits all over the floor and is in a right tumble. When he is confronted with, Death, he informs Everyman that is time on earth is at an end. As such; he realises he has some apologies to make; in particular his family who he has been ignoring for a length of time. His Sister (Michelle Butterly) has been caring for their Mother (Sharon D Clarke) and Father (Philip Martin Brown). When Everyman is frightened, his parents are contented to take his place, but Death states it must be him. Throughout the performance, Everyman transforms himself into a homeless and decrepit man and when he encounters destitute, Knowledge (Penny Layden) it's under the impression that monetary value is not that significant whatsoever. On the other hand, Everyman's nightclub cleaner, God/Good Deeds forms acts as a comfort to him, yet Death ensures that his life is now ready to be terminated and luckily for him his friends who were at the party are prepared to join him in death. At the finale Everyman descends to his grave and where his destiny awaits him. Ann Duffy’s narrative is suitable as we can see how one man’s journey does lead to him testing why he has been living a life that's absolutely pretentious and that he needs to say sorry for his why for acts of excessive spending and drug use.

One found the performances by the company of ‘Everyman’ to be vastly compelling through grand choreographic sequences and potent vocal delivery. Chiwetel Ejiofor  is stunning as the money driven, Everyman; especially when he enters a classy department store, and how he is unwanted there,  this creates a sense of upset to himself as his life is meaningless, as well as his entrance is a sight to behold old where he descends from a harness. Dermot Crowley is surely frightening as master of Everyman's destiny, Death; chiefly where he endeavours to keep Everyman at arm’s length, moreover his sinister facial expressions and voice captures the power he has. Kate Duchêne is brilliant as God/Good Deeds; expressly how maternal and obliging she is to Everyman, and when Death is tenacious at Everyman's expiry, she does her utmost best to prevent him from being a puppet in Death’s games,  but as you well know this does not go according to plan.


Rufus Norris's direction is first-rate here as his first production as director of the National Theatre is one that is so absorbing and engaging as we can see how Everyman is desperately and consistently tries to improve himself, but it still shows his life must cease as he is a sinful character. Furthermore, Javier De Frutos' choreography and movement direction was deeply convincing and well executed by the members of the company. Ian MacNeil’s set design and Nikki Gillibrands costume design is affable as the simplicity of the set and costumes shows Everyman's world crumbling around him, and the rubbish tip costumes were terrific. Overall, the experience of, ‘Everyman’ was an interesting one of how one man needs to improve his life prospects and that changes are inevitable and it reminds me of Charles Dickens's character, Ebeneezer Scrooge, additionally it's a nice way to start Rufus Norris’ reign as the boss of the National Theatre.

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