Thursday, 15 November 2012

The Dark Earth and the Light Sky review, The Almeida

It's odd to emerge from a bio-play feeling you know less about the subject than you did on entering. The Dark Earth and the Light Sky is a line from the work of the war poet, Edward Thomas, who blazed brilliantly for two short years before dying on the battle fields of France in 1917. The 140+ poems he produced are part of the English canon. Until that point, Thomas led a life that many would consider charmed. He was paid to do what he loved most: writing. He was an established author and a highly respected and powerful literary critic, but he was constantly depressed and felt unfulfilled until he segued into writing poetry. Apparently.

Poetry emotion
It's hard to know what's real and what imagined in Nick Dear's new play which examines the poet's relationships with his wife, Helen; his protege turned mentor, the poet Robert Frost; and the writer Eleanor Farjeon. Individual monologues demonstrate their highly charged emotional feelings for Thomas. Which of them is closest to the truth? And, when the work remains intact, what can thin vignettes add to our understanding?

Astonishingly, we only hear of the poet's works. It's a play about poetry without any... poetry. Unusual. Structurally, the story zig zags across time unsure if the focus is on the marriage, the intellectual bromance, or the fuzzy Eleanor-coloured bits around the edge. There is little context, and the dissipation of narrative tension is hard to compensate even with Richard Eyre directing. The saving grace is Hattie Morahan as Helen. She single-handedly holds proceedings together, from earthy young lover to a neglected and publicly humiliated wife who still loves with all her heart. By rooting for her, we stay watching. Pip Carter as Thomas is excellent in his detachment, and Shaun Dooley is an earthy Frost.

In conclusion: Afficianados will find something to take away from this production. Others may find it helpful to read Matthew Hollis's prize-winning biography of Thomas, Now All Roads Lead to France, before making a decision.

References
Almeida Theatre tickets
Charles Spencer review in The Daily Telegraph

Almeida Theatre, Almeida Street, London N1 1TA   This run has now finished.


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2 comments:

  1. Anonymous16 November 2012 at 00:20

    it is not a play about poetry, it is a play about the man, Thomas. And witholding the poetry until the final rendition of 'Lights Out' only adds to the final call only adds to the pathos. The very essence of the play and of the man concerns contradicting accounts of him from wife/friend/colonel and which we should believe. The reviewer seems to have completely misunderstood the nature of the piece. If you want to read the poetry, no one is stopping you.

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  2. Shyama16 November 2012 at 08:26

    No disagreement here with any of what you say, but what makes his life interesting is the poetry. Every discussion on stage is about his writing - the difficulties with the pram in the hall, the lack of confidence, the depression, and the support of others. there is endless telling about a gift that is never displayed. Without that context, the life shown is simply cruel, commonplace and dull.

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