September 17, 2009
If Victor Meldrew’s wife died, and they put him in a home, it might start out funny, but it would end bitterly sad.
Siberia is a one man play following the plight of a deteriorating old man named Aigner, left to languish in a ghetto-like care home where he conducts one-sided conversations with imaginary figures from his life. Poor Aigner pleads, raves, begs and rants about his incarceration in a desperate bid to gain some his freedom, or even just some dignity or understanding. Of course, no one replies.
Dear Reader, forgive me for coming across all melancholy. It really wasn’t all doom and gloom. Very much like One Foot in the Grave, some of the bitterness was very funny. But as the play wore on the funny side, intentionally, faded, to be replaced by true sadness of Aigner’s situation. And so I left the theatre thoughtful.
Though I truly hate the phrase, this play was ‘hard hitting’. Siberia was able to powerfully reflect on both sides of what are really difficult issues. It managed to effectively give voice to the disempowered older person, while at the same time acknowledging that they can sometimes be a real pain in the neck.
I must take my hat off to Thomas Bewley, who played Aigner, for his great performance. A one man play stands and falls on the actor’s ability to keep up the tension in the absence of any interaction, and Mr. Bewley does very well indeed. One hour and 40 minutes is a long time for a one man play, and requires some dedication on the part of the audience, but Mr. Bewley gave me all the help I needed.
Not all plays need to be a laugh a minute. I urge you not to think of Siberia as a ‘dark comedy’ (another overused phrase); this will just make you try and force out unnecessary laughs out it. Rather, Siberia for me was a serious drama, with some comic bits, and was much better for it. Though the laughs were good, resisting the urge to squeeze some cheap laughs out left the play a high quality piece.
We will all likely face these issues, and probably from both sides. Forewarned is forearmed, and I recommend you see this play.
Siberia is a one man play following the plight of a deteriorating old man named Aigner, left to languish in a ghetto-like care home where he conducts one-sided conversations with imaginary figures from his life. Poor Aigner pleads, raves, begs and rants about his incarceration in a desperate bid to gain some his freedom, or even just some dignity or understanding. Of course, no one replies.
Dear Reader, forgive me for coming across all melancholy. It really wasn’t all doom and gloom. Very much like One Foot in the Grave, some of the bitterness was very funny. But as the play wore on the funny side, intentionally, faded, to be replaced by true sadness of Aigner’s situation. And so I left the theatre thoughtful.
Though I truly hate the phrase, this play was ‘hard hitting’. Siberia was able to powerfully reflect on both sides of what are really difficult issues. It managed to effectively give voice to the disempowered older person, while at the same time acknowledging that they can sometimes be a real pain in the neck.
I must take my hat off to Thomas Bewley, who played Aigner, for his great performance. A one man play stands and falls on the actor’s ability to keep up the tension in the absence of any interaction, and Mr. Bewley does very well indeed. One hour and 40 minutes is a long time for a one man play, and requires some dedication on the part of the audience, but Mr. Bewley gave me all the help I needed.
Not all plays need to be a laugh a minute. I urge you not to think of Siberia as a ‘dark comedy’ (another overused phrase); this will just make you try and force out unnecessary laughs out it. Rather, Siberia for me was a serious drama, with some comic bits, and was much better for it. Though the laughs were good, resisting the urge to squeeze some cheap laughs out left the play a high quality piece.
We will all likely face these issues, and probably from both sides. Forewarned is forearmed, and I recommend you see this play.