Great theatre gets inside you, and leaves its shadows across the world when you look at it afterwards.
David Glass Ensemble’s production of Gormenghast, which I probably saw more than 20 years ago, had that effect. The world looked different afterwards. Darker, more shadowed, layered. It still does. Theatre De Complicite did the same to me. So did the work of Bruce Gilchrist.
When I watched the preview of Clod Ensemble’s new show The Red Chair, I had a similar feeling. Like David Glass Ensemble and Complicite, the show conjures a dark, twisted world and tells a long tale on stage.
But while David Glass and Complicite rely on a whole company, The Red Chair creates that intensity with just one actor on stage.
Sarah Cameron wrote The Red Chair and performs it. It’s two hours long. It’s an intense, physical experience, for her and for the audience – there’s no interval, no respite. Cameron makes a decaying household from words and once she’s created that place she tells the story of a man who eats and eats until he becomes swallowed by the chair he was sitting in, and the story of his wife who feeds him, and the story of their forgotten child. She drags you through a Grim(ms) Fairytale, full of lush lyrical language and tumbling poetry.
The world she creates looks, I think, a little like this:
The set doesn’t: it’s just Cameron, a chalk circle to contain the things she conjures, and a wooden chair. There’s a shot of whisky and some chocolate for the audience. They only reinforce the sense that this is some dark mass, some strange ritual.
The Red Chair is coming to Margate. Go, and I promise you won’t ever forget it.