When it comes to fringe theatres, there are
so many more to be found North of the river Thames than South of it. As a South
East Londoner, going to the Brockley Jack Theatre and witnessing a lovely piece
of theatre is even more enjoyable as it’s in my neighbourhood. This week,
Howard Coyler’s adaptation of Franz Kafka’s most famous novel, The Trial, was staged. I had seen The Trial on stage twice before, but
this was particular as it was a monologue, performed by Brendan O’Rourke.
The story is that of Joseph K., who on the
morning of his 30th birthday, is arrested for no apparent reason. In
this production, we meet Joseph K. in his prison cell, one year after his
arrest. He takes us through how his confusing, nightmarish and incomprehensible
arrest went and how clueless he remained throughout the odd events and
encounters.
This idea of being arrested and not knowing
why can touch readers and audience members in many different ways, I imagine. I
connected it with a feeling of guilt that I may not know the reason for. This
can be a very vulnerable and personal situation and can make you feel alone.
And this is what we see with Joseph K.: a man who may be talking to people, and
is trying to count on the law to back him up, but who is always alone.
The Trial was written at the beginning of
the first world war, a time when Franz Kafka was “a minority of a minority”:
not only did he speak German in a city where it was not widely spoken, but he
was Jewish. Some Jews were apparently being accused of crimes and standing
trial in Prague, even if they were not guilty. The similarities between Kafka
and his character can’t really be ignored, can they?
Brendan O’Rourke and Saul Reid’s set design
show the floor of Joseph K.’s prison cell with its surrounding floors and walls
covered in words written in chalk. If one looks closer, Joseph K. is written
everywhere, in big and small writing. I can imagine one of the thoughts behind
it was to show a man who was obsessed with remembering who he was, with staying
true to himself in the midst of the incomprehension. If the law, that one human
right, can’t protect him, surely the memory of himself will?
O’Rourke gave a strong performance as Joseph
K., bringing an animalistic quality to the role, especially when playing some
of the characters Joseph runs into on his journey to his arrest. His ability to
change his accents, voice and even breathing pattern drew me in.
Director Saul Reid also sometimes oriented
him away from the audience, giving him privacy but also implying eyes looking
at him from every side. Directing a monologue must be quite a challenge, and
here Reid gave a lot of variety and changes in pace to the text. Having been
given the play text, I can see that Howard Coyler started a new line every few
words, which gives the director and actor a new dimension in terms of speed and
importance of words.
When I think of this idea of the Trial in today’s world, I think about
certain people coming to Europe from difficult and war-torn regions, and who
are “tried” or “judged” on one trait – the fact that they are migrating. Joseph
K. is constantly being called “guilty”. His other traits become unimportant. It
is the same with the individuals who travel thousands of miles for safety –
they are more than one thing but face the danger of being only that one thing
in the eyes of others.
The Trial was for me a powerful production
carried by strong acting and which proved that this novel can keep being taken
in multiple directions.
Review by Sophie Tergeist
Rating: ★★★★
