November 30, 2011
The premise of Alan Bennett’s wittily conceived Kafka’s Dick is that Franz Kafka comes back to life in the mid-1980s and discovers that, despite his dying wish that his work be burned, his best friend, Max Brod, has not only published the work, making Kafka one of the best-known writers of the 20th century, but also established his own fame by writing biographies of Kafka.
Both men reappear at the home of Sydney, an insurance agent and would-be literary critic, and Linda, a self-deprecating ex-nurse. In a Kafkaesque turn of events, Brod barges into their living room after urinating on a tortoise – an animal which then mysteriously morphs into Kafka. In Sidney and Linda’s living room, the unlikely group ponder the consequences of fame, or what Bennett calls “that posthumous cocktail party – posterity".
Structurally the play relies on Kafka’s own themes of metamorphosis and persecution – and not very subtly either. Indeed, for a play that deals with such big ideas, everything here seems to be on the surface.
OUDS made a valiant effort with this difficult piece. On the whole, the cast rose the challenge of Bennett’s fast-paced dialogue, but there were a handful of slip-ups, which was disappointing. Although the acting was a little strained in places, the cast worked hard and seemed to enjoy playing their parts.
Sanjay Mewada was convincing as a brooding Kafka – the archetypal tortured artist - and Peter Huhne camped it up beautifully as Max Brod. Lara McIvor and Alex Stutt were witty and warm as Linda and Sydney, and their enthusiastic performances gave colour to scenes that might otherwise have dragged.
The supporting cast were a little flat, but the debut of Susan – a real life tortoise – went down very well with the audience. The set design was economical, but effective. Indeed, there was a certain simplicity – even naiviety about the performance – but then, for Bennett, that’s the point.
This is an unusual and difficult play, and although the performance was not as polished as it might have been, OUDS worked hard to do it justice.
Both men reappear at the home of Sydney, an insurance agent and would-be literary critic, and Linda, a self-deprecating ex-nurse. In a Kafkaesque turn of events, Brod barges into their living room after urinating on a tortoise – an animal which then mysteriously morphs into Kafka. In Sidney and Linda’s living room, the unlikely group ponder the consequences of fame, or what Bennett calls “that posthumous cocktail party – posterity".
Structurally the play relies on Kafka’s own themes of metamorphosis and persecution – and not very subtly either. Indeed, for a play that deals with such big ideas, everything here seems to be on the surface.
OUDS made a valiant effort with this difficult piece. On the whole, the cast rose the challenge of Bennett’s fast-paced dialogue, but there were a handful of slip-ups, which was disappointing. Although the acting was a little strained in places, the cast worked hard and seemed to enjoy playing their parts.
Sanjay Mewada was convincing as a brooding Kafka – the archetypal tortured artist - and Peter Huhne camped it up beautifully as Max Brod. Lara McIvor and Alex Stutt were witty and warm as Linda and Sydney, and their enthusiastic performances gave colour to scenes that might otherwise have dragged.
The supporting cast were a little flat, but the debut of Susan – a real life tortoise – went down very well with the audience. The set design was economical, but effective. Indeed, there was a certain simplicity – even naiviety about the performance – but then, for Bennett, that’s the point.
This is an unusual and difficult play, and although the performance was not as polished as it might have been, OUDS worked hard to do it justice.