imitating the dog’s adaptation of author Joseph Conrad’s formidable Heart of Darkness is such a thought-provoking performance it forced a deviation from my usual review format, for doubt of its ability to fully express the many topical messages this play delivers, and the innovative ways its directors choose to do so.
The use of a trifecta of screens across the top of the stage to create a cinematic impression of the action initially created dispute over where I should direct my attention – to the natural acting on stage or the fashioned product on the screens. It took me 20 minutes or so to surrender my affinity with the familiar, and as soon as this happened I noticed the genius of Imitating the Dog’s live production of what, by many standards, is a feature film in its own regard.
The screens were not used solely for streaming of live footage captured by the on-stage cameras – which were seamlessly operated by cast members throughout – but also for concise but impressively informative blasts of context relative to the era central to the novel. These were presented in a hectic fashion, often with simultaneous streams of information. As expected, this posed a challenge to the mind and senses, but on speaking to cast and company member Morven Macbeth after the show, she explained that this was their exact intention. This requirement to multi-task is a comment on the method many people choose to garner their information in today’s society, in which convenience is plentiful and attention spans are limited. Very few people, with the abundance of mediums offered to us, will focus and rely on one solitary source. Rather they will switch between platforms – exactly as the audience member here must switch between a cast member’s recital of a speech relative to the matter on one screen, and the succinct, raw, textual information on another.
A highlight of the show for me, and invaluable to effective conveyance of the ideas behind this production, are the intermittent alleviations from the substantial tension of this piece through flashbacks to scenes in the “writers’ room” of Imitating the Dog. Aside from relieving the audience from the relentless suspense of this show, these scenes provide pivotal insight into the reasons behind the company’s choice to reimagine this iconic novel in the radical fashion they did. I won’t reveal this, as part of the show’s drama is the company’s explanation of their decisions, but the acting and use of technology alone (brilliant though it is) is not enough to give true understanding to the meaning behind this production’s style, something that is absolutely necessary to totally appreciate it. Therefore these flashbacks compensate for any difficulties in interpretation of the piece created by the drastic revision of Conrad’s characters and location, whilst further captivating the audience.
This show certainly does not make for relaxing viewing, rather it provokes each and every audience member into questioning the mysteries of humanity (including perhaps Brexit). Why do many Brits view our country as a valiant ruler of the seas and land, blessing “poorer” countries with our wealth and knowledge, when in reality we were an integral part of the transatlantic slave trade, and as a nation are often dissimilar to the etiquette-orientated nation we proclaim to be? Is it acceptable to perform a play derived from a novel which by today’s standards is quite obviously racist? These issues are dealt with in a variety of inventive ways, from a satirical video montage of Britain’s “finest” qualities, to the entire reimagination of the novel as discussed before. The reversal of Conrad’s presentation of a British white man headed to the 19th century Congo to a black woman from Kinshasa on a mission to post-apocalyptic London is ideal for its purpose – to show the Heart of Darkness that is prevalent in both, and in us all.
Without a doubt this show has left an impression on my mind and forced me to go home and look further into the subjects it tackles. Perhaps too few of us are aware of the barbarous colonization of the Congo by King Leopold’s Belgium, so should you seek a play that provides enrichment as well as enthralment, I can’t recommend Heart of Darkness highly enough.
Heart of Darkness continues its UK tour, this week at Keswick’s Theatre by the Lake until Saturday 30th March 2019. Tour dates are available here.
Meanwhile from May 1st-4th the Dukes will host a brand new play Lancastrians which is touring the country this spring. Featuring real words from people interviewed by Chorley-based Junction 8 Theatre, this production reveals stories and thoughts about everyday life in Lancashire.
