A month ago
I, along with a few friends, had gone to experience our first physical theatre at
the University Campus Oldham. The first was ‘Missing 1994’, an endearing tale
of the struggle two people had to face when their daughter went missing during
a family outing. Although the use of contemporary dance to deliver the story
was both exhilarating and powerful to watch, I write today about the latter – Kafkaesque.
Inspired by
the genius writings of Franz Kafka, (author of The Trial and Metamorphosis)
Kafkaesque is the making of four dark and comical tales exploring the tasks and
tribulations man faces every day. Actors Adam Urey and Katherine Godfrey play
eight memorable characters in all four pieces which last around twenty minutes
each. Both the actors and director, Rob Johnston, retain the plays together extraordinarily
through impressive dialect and notable performances. Each piece is dreamlike,
and yet existential as it carries a strand of desperateness throughout them.
Although most do not come to a conclusion, it leaves the audience clinging onto
the story and wondering what will happen next.
Kafkaesque
begins with ‘An Interview for the Academy’, where the curator (Godfrey) of a
scientific academy interviews an ape (Urey), who was kept in captivity for five
years and had dramatically attuned his attributes with human ones. Although the
speech between the two characters is carried through with witty exchanges,
underneath his sophisticated façade the ape is still ape-like; this is
demonstrated through the rough agitated movements, and the brilliant monkey
makeup. Albeit that it is never revealed how this dazzling ape turned out this
way, the audience is left with thought-provoking insight due to the humorous
questions the ape asks the curator.
Kafka is
known for using universal themes and this is well established in the second
tale which I found the most captivating; ‘Men and their Atrocities’. This tale
focuses on the issue of whether or not following orders is a defence against
wrong deeds. The story is unclear as it is strongly ambiguous of what atrocity
had taken place, but the power of Godfrey’s performance was staggering as it consisted
of a long monologue which she expertly kept together. The monologue suggests of
an elusive master who seemingly brainwashed his servants into committing crimes.
Again the audience is left with no conclusion, but Godfrey’s enactment was undeniably
perfect.
The third
tale, ‘The Work’, was a personal favourite, and just like the previous play had
darker themes. A couple’s dissatisfaction with life and the unknown nature of
the husband’s work echoes the tribulations man faces and the sacrifices we all
have to make. Urey’s amazing ability to
shift and play such contrasting characters was astounding, and portrayed the
mix personalities that man has, further proclaiming the universal theme.
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| Ticket for the show |
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| Peshkar volunteers with the cast |
.x Wandering Daydreamer x.
