The Bald Soprano

  • Drama
  • By Eugene Ionesco
  • Directed by Emily Louizou
  • Producer: Isabella MacPherson, for UCLU Runaground
  • Cast: Hannah Donelon, Maxim Sinclair, Frances Keyton, Alberto Lais, Oliver Marsh and Lucie Tremoliere
  • Etcetera Theatre, London
  • 3-6 August 2015
  • Time: 16:00
  • Review by Owen Davies
  • 4 August 2015
The Bald Soprano
3.0Reviewer's Rating

This is a show that fizzes with ideas and enthusiasm. Written in 1950, The Bald Soprano is the first play of the French-Romanian playwright Eugene Ionesco. The ‘theatre of the absurd’ is the label most often associated with the dramas of Ionesco and it is the absurd elements of this play on which director Emily Louisou has focussed in this inventive and fast-moving version of the work.

The scenario is simple. The six actors appear on stage dressed in black and with “white face” make-up. The action begins with frantic ‘square dance’ of movement in which the characters look as if they will crash into each other but never do and the startling choreography of what is essentially a dialogue-driven play is one of the cleverest features of this production. The actors show almost reckless commitment to the jumps and falls and struggles that accompany the words.

The plot is minimal. A couple, the Smiths, are waiting for their dinner guests, the Martins, to arrive. Their insubordinate maid intervenes and the Fire Chief, who may perhaps be her boyfriend, arrives. The dialogue rushes disjointedly along and veers between the mundane details of everyday life – which local grocer sells the best oil – and the sinister – where the next fire will break out. The Martins have a long conversation which begins with them appearing to be strangers and ends with them discovering that they live in the same house and sleep in the same bed. Sentences are sometimes repeated but with a change of wording that reverses their meaning. Stories that make no sense are told as if they are revelations of important truths.

The six actors are equal participants in the drama and there is not a weak link. Indeed, it is their total commitment to the collective nature of the way the play is structured that gives this production such force – the acting space at Etcetera Theatre is very small and the audience can see every facial expression of the actors listening to the actor who is speaking. The intensity of the group performance is spell-binding.

Not everything works. Sometimes the ideas run ahead of the actors’ technical abilities and, in such a small acting space, the volume needs better control. The sound system was not quite right at the performance that I saw. But this clever re-working of a play that could easily seem precious and absorbed with its own wordiness is a fine example of what a group of fearless young actors and a creative director can achieve.

About The Author

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Owen Davies was brought up in London but has Welsh roots. He was raised on chapel hymns, Handel oratorios and Mozart arias. He began going to the theatre in the 1960s and, as a teenager, used to stand at the back of the Old Vic stalls to watch Olivier's National Theatre productions. He also saw many RSC productions at the Aldwych in the 1960s. At this time he also began to see operas at Covent Garden and developed a love for Mozart, Verdi and Richard Strauss. After a career as a social worker and a trade union officer, Owen has retired from paid employment but is a student at Rose Bruford College studying for a BA in Opera Studies.


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