March 11, 2009
Is there such a thing as a righteous terrorist? Five Russian insurgents, four young men and a woman, meet to discuss their proposed murder of the Grand Duke Serge as he drives in his carriage to the theatre. They are dressed almost entirely in black, as befits such dastardly work. They agonise about the justness of their cause. They are nervous and frightened. One, the effete poet Kaliayev, is nominated to throw the first bomb. There is conflict between him and another, the seriously staring Stepan, recently returned from three years being held at his Tsarship’s pleasure. Perhaps it’s that they both lust after Dora, but cannot separate a love for Dora from the love of their murderous organisation and/or the love of justice. In the event, Kaliayev bottles his first run when he spots the Grand Duke’s children with him in the carriage. This leads to more agonised discussion and recriminations from Stepan when they return to their sleazy apartment. Boris Annekov, their leader, tries to keep control. Then Kaliayev has another go…and there are repercussions.
This one act play by Camus is a well-crafted existential exploration of justice and freedom. The acting of the five members of the cast was very good indeed, and all carried off the intent of the author in discussing his varied arguments with conviction. I particularly admired Sam Buchdahl’s switch from his portrayal of the conspirator, Voinov, to that of the slimy Police Chief Skouratov, and Hannah Robert’s convincing work in her two roles of Dora and the Grand Duchess. Tanjeet Arora’s direction was appropriately tight and paced, and Patrick Timoney’s lighting and sound effects added a good dramatic effect to the sparse set. This is not a comfortable piece, and it is markedly unleavened by humour, but it is thought provoking and still highly relevant today.
This one act play by Camus is a well-crafted existential exploration of justice and freedom. The acting of the five members of the cast was very good indeed, and all carried off the intent of the author in discussing his varied arguments with conviction. I particularly admired Sam Buchdahl’s switch from his portrayal of the conspirator, Voinov, to that of the slimy Police Chief Skouratov, and Hannah Robert’s convincing work in her two roles of Dora and the Grand Duchess. Tanjeet Arora’s direction was appropriately tight and paced, and Patrick Timoney’s lighting and sound effects added a good dramatic effect to the sparse set. This is not a comfortable piece, and it is markedly unleavened by humour, but it is thought provoking and still highly relevant today.