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A visually striking revival of a 100-year-old play.Summary
Rating
Good
The Millionaire (Stuart Laing) has built his success at the expense of his factory workers. When hearing of an explosion and workers in the rubble, he instructs that anyone not back at work in two days is to be fired. When he goes out to speak to his employees he requires military and police protection. Or to even avoid having to have contact with his workers, along with other tasks he despises, he sends his Secretary (Adam Woolley) instead. He was hired following a long search to find his doppleganger, and is so identical that even The Millionaire’s family can not tell them apart.
Something that The Coral excels at throughout is its distinctive visuals. It begins with the Secretary wearing a striking red mask, fully covering his head. Director Emily Louizou and set & costume designer Ioana Curelea further combine to provide many more smart, distinctive and memorable visuals, from the staging of the cast when they are on a boat to a simple but strikingly effective moment when a gun is fired.
David Denyer sound design helps build a discordant atmosphere throughout, while Amy Hill‘s lighting design is truly excellent, dark colours matching costumes and another strikingly effective moment with a red spotlight. There are moments which cry out for a still photo, the like of which you’d expect in a glossy art magazine.
There is a clear ethos in mind with the whole design. It looks great yet feels cold and isolated, mirroring the relationship between The Millionaire and Older Daughter (Joanne Marie Mason). She wants to escape and have nothing to do with her family riches, something she has no issues addressing with her father. Sometimes though, it begins to feel too much, with little let up. Friend (Arielle Zilhka) does have fun during one scene on the ship, but this proves to be the only moment of lightness during the first half. The rest feels like the production is challenging the audience’s comfort a little bit too head on.
When the second half commences though it takes a drastic turn, seeing a sharp change in style. The two detectives (Scarborough and Wolley again) are played almost as if in a farce, with interactions a contrast from everything that has gone before. It jars tonally before resetting for the final act.
The programme informs us that much of the cast are fresh to the professional stage; debuts for two and second professional productions for two others. Considering this, all are impressive, Wooley and Sarborough in particular, but that is not to miss out Mason and Zilkha whose roles left them less opportunity.
The Coral is a show with a noticeable surplus of talent in both cast and creatives. They provide a good but challenging evening in the Finborough. Written over 100 years ago, The Coral addresses themes of wealth, poverty and worker exploitation. The Millionaire is told that ‘the endless stockpiling of wealth by individuals is a scandal’. Good thing we got passed that as a society isn’t it.
Written By: Georg Kaiser
Directed and Adapted by: Emily Louizou
From a translation by: B.J. Kenworthy
Set and Costume Design by: Ioana Curelea
Music Composition by: David Denyer
Lighting Design by: Amy Hill
Produced by: Collide Theatre in association with Neil McPherson for the Finborough Theatre
The Coral plays at Finborough Theatre until 29 October. Further information and bookings can be found here.
