In-Yer-Face at the Arcola

Do you think all plays are pretentious? Maybe you think they are not radical enough? If so, Phaedra’s Love at the Arcola is the performance for you! A remake of Sarah Kanes original black comedy, which premiered in 1996, this play represents a perfect example of what is known as ”in-yer-face” theatre.

            Highly controversial and extremely disturbing, Phaedra’s Love will force you to re-evaluate your pre-conceptions regarding the limits of theatrical morality. You will witness scenes of incest, oral sex, masturbation, and disembowelment all of which fit into the historical context of in-yer face theatre. This style of theatre is meant to grab hold of the audience’s attention, and reflects the growing resentment towards conservative norms that dominated the era of Sarah Kane.

            In this sense the Arcola theatre serves as the perfect venue, seemingly resembling an underground dungeon fit for a rave rather than a theatrical performance. With the dark lighting and ominous background screen, the stage elicits a creepy, menacing effect that perfectly suits the themes of the play.

          

  Nicolas’s Shaw’s performance as Hippolytus seems to truly channel the character’s jaded and cynical sense of being. As Phaedra, Joanna Roth manages to capture the hysterical nature of her romantic affair with her stepson. Additionally, Rupert Evans puts on a masterful display of acting talent by playing the roles of Phaedra’s husband, King Theseus; along with her hired psychologist and later in the play, a brief scene as a priest.

            The opening scene of the play sets the mood for the rest of the performance, as Hippolytus lazily eats McDonalds while watching television and then proceeds to masturbate on stage. In this respect, the performance immediately seems to truly capture the essence of “In-yer-face theatre” as the audience must witness an uncomfortable, yet comical introduction to what Sarah Kane declared to be her only comedy. Several other highly shocking and disturbing, scenes stand out in the performance, including multiple oral-sex performances between mother and son, and priest and Hippolytus.

            Towards the end of the performance, during the final scene in which Theseus unknowingly kills his own daughter, and then cuts out the heart and testicles of his son, the stairs leading up to the balcony level collapsed. What was truly interesting about this random occurrence was that the effect it created seemed to match the overall mood of the performance. As I became shocked and worried for the stagehand, which fortunately remained unharmed, the actors professionally continued without missing a beat. Afterwards I could not but reflect upon whether or not the stage had been designed to collapse, as the unnerving situation was both disturbing and slightly comical.

            For these reasons I highly recommend witnessing Phaedra’s Love at the Arcola Theatre. Unique, dark, and cynical: it will truly force you to reflect upon “in-yer-face” theatre and the nature of theatrical performances as progressive and radical social commentaries.