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Self-loathing in the underground
NOTES FROM THE UNDERGROUND
Arcola Theatre
“YOU sound like a book,” the prostitute says to The Man, interrupting his lengthy analysis of human existence.
Never have these words rung so true as for this adaptation of Dostoyevsky’s novel Notes from the Underground.
A full house sardined the underground studio of the Arcola Theatre in Dalston. Watchful eyes sucked the air from the room as they waited for a bearded man lying on a bed to wake up and do something – and he does, sort of.
After some rattling, spittle-filled snores, The Man (Dan Starkey) wakes up. He stares at the audience slowly, his head pivoting from one side to the other to the sound of clocks ticking. This same action also provides a neat ending for the play less than 90 minutes later.
The Man revels in explaining his self-destructive existence for which he blames himself.
His self-loathing makes him destroy everything around him, including his relationship with a young prostitute, Liza (Cressida Trew).
As a study of existentialism (the analysis of human existence with an emphasis on human choice), Christopher Haydon’s production, in all its bleakness, has its merits.
On stage the whole time, Starkey delivered his long monologues with convincing horribleness.
Yet drama was lacking, as Trew was underused and the climax died a quick death.
For a play described as “caustically funny,” humour seldom appeared. Although Starkey extracted some chuckles with lines like: “I decided to merge full of rage into the background,” moments of frenzied slapstick involving his servant Apollon (Nick Jesper) were reminiscent of Moliere’s The Miser – which didn’t quite work.
With its short running time, this play is good if you would rather watch the book than read it.
Until Feb 3
020 7503 1646
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