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Sartre’s tale rendered magnetic
INTIMACY
Pentameters
THE original French title of this collection of Sartre’s short stories is Le Mur (The Wall), because the French writer and philosopher was attempting to describe more than just intimate situations. He wanted to bring to light the existential tragedy of the tall and insurmountable “walls” that human beings are capable of erecting before them in all sorts of scenarios. The stories, in this instance, are brilliantly adapted for the stage by Almaz Freely, and the script is funny.
As the play opens, two women, Lulu and Rirette, bring onto the minimal stage their intimate daily dramas and talk about their experiences within the inexorable ennui of mundane life.
The play centres on Lulu’s relationship with her husband Henry. He is not visible on stage, but is often the topic of conversation and is described as an impotent brute. His presence on stage, though not physical, is constantly perceptible and heavy. In a way, Henry incorporates all evils in this play: his impotence symbolises the inability to act, his unpleasant smell, of which Lulu often complains, is a sign of a stagnant way of living that knows no change or progress. He sources the innumerable causes of Lulu’s unhappiness. The solution, the end, the farewell to all troubles, should come when Lulu finds the courage to abandon him with the help and advice of Rirette. But is it possible? And is it safe to escape the inescapable situation Lulu has comfortably and conformably wrapped herself in?
Lulu and Rirette are beautifully interpreted by Vicki Carpenter and Rebecca Tremain, the energy on stage is magnetic and involving.
Until July 18
020 7435 3648 |
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