{"id":10698,"date":"2019-08-15T07:01:58","date_gmt":"2019-08-15T07:01:58","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=10698"},"modified":"2019-08-14T23:02:22","modified_gmt":"2019-08-14T23:02:22","slug":"tree-at-the-young-vic-a-maddening-take-on-theatre","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/08\/15\/tree-at-the-young-vic-a-maddening-take-on-theatre\/","title":{"rendered":"Tree at the Young Vic: A Maddening Take on Theatre"},"content":{"rendered":"

It\u2019s Theatre Thursday! Today\u2019s show is Tree, at the Young Vic until August 24.<\/em><\/p>\n

In a post-theatre conversation this week, we established that the number of professional stage productions I\u2019ve seen is in the thousands. I can say with all the certainty of someone who is pretty tired and should have taken her contacts out 5 hours ago and has a hard time remembering many of the 1000s of shows (as one would) that I have never been more frustrated by any show than I was with Tree<\/em>, the creation of (as it says in all the program and marketing material, it was \u2018created by\u2019 them, not written by) Idris Elba (yes that one) and Kwame Kwei-Armah, the latter of whom also directed. It\u2019s maddening beyond belief, because there\u2019s so much potential in the story \u2013 if you can find the story underneath the noise. Tree<\/em> shows glimpses of deep, provocative drama, but the creators obscure those little captivating buds with tons (and tons) (and tons) of bells and whistles that are beyond unnecessary, to the point where the entire experience is extraneous.<\/p>\n

The most well-known of said bells and\/or whistles is the immersive nature of the show. As we saw with the recent productions of A Midsummer Night\u2019s Dream<\/em><\/strong><\/span><\/a> at the Bridge Theatre and, in smaller part, with Barber Shop Chronicles<\/em><\/strong><\/span><\/a> at the Roundhouse (at least to start the show), immersive style theatre is this summer\u2019s trend. I\u2019m all for immersion if it works. It works like a dream at Midsummer<\/em> (I didn\u2019t mean to make that so corny but alas) because the story remains the focal point. Sure the crowd is ushered hither and thither but never in a way that distracts from the actors or the words. This is a lesson in restraint that Tree<\/em> did not learn. I don\u2019t think Tree <\/em>even knows the word restraint. The immersion exists here simply for its own sake, simply to make audiences feel like it\u2019s all about them \u2013 and it is.<\/p>\n

Beginning with most of the crowd in the middle of the stage dancing with the cast to super loud (like too loud) club music (literally my nightmare), the show is ostensibly about a young Londoner who goes to South Africa for the first time to confront his family\u2019s history and learn about the strife that led to his existence and is in his blood. Now that story could be great, and like I said there are moments of almost-greatness. But instead of letting those moments breathe and grow, the play continues to rely on tricks like these dance parties to convince the audience that this was fun. And most of the audience did have fun, because of course they did if it\u2019s a huge dance party. Londoners love clubbing!<\/p>\n

The first half hour drags, with little happening to propel a story but LOTS happening to distract you from it \u2013 more super loud dance breaks apropos of nothing, staff repeatedly handing out placards to hold up, staff moving you around to set up another effect, staff making you hold sticks (staff have never worked harder in a theatre; they did not stop for a second, which was distracting). There was an inane release of either glitter or dirt \u2013 I honestly couldn\u2019t tell the difference, quite the metaphor \u2013 over most of the crowd, and lots of Alfred moving through the crowd unnecessarily. (This last one seems just to give everyone the rush of a famous actor walking right by you, because that\u2019s what everyone wants \u2013 to feel like they\u2019re a part of whatever is happening, regardless of whether it makes sense. Everyone wanting to be a part of things is already the downfall of theatre, with the rampant videos and snapchatting during it, but more on that at the end.) There was a character we met for less than a minute who performed handstand pushups for no reason other than to show off and have the crowd cheer. There were loud gunshots. There was a character introduction via hip hop performance. And sure she\u2019s a good performer, but WHY? Every inch of this production had me asking why. Nothing was in service of the story, so everything felt exasperating.<\/p>\n

As Alfred\u2019s character Kaelo delves deeper into his family\u2019s past, there is a good ten minute chunk that felt like a completely different, compelling play: when modern day demonstrations gave way to a memory play of the protests in 1985, when Kaelo\u2019s parents got together. There were fewer distractions here, fewer dance parties, and it worked. Those ten minutes or so worked. I wish I could see the rest of that play.<\/p>\n

But I couldn\u2019t because it was then time for another dance partayyyyyyyy! Wooooooooot!<\/p>\n

Without any real commitment to telling this story, the overly dramatic direction \u2013 so much melodramatic music, so much slow motion \u2013 felt unearned, since any drama took a backseat to the audience\u2019s constant outward enjoyment. There\u2019s a good story (potentially a great story) under all that noise somewhere, and that\u2019s what makes it so infuriating. The issues brought up could be challenging in a novel way, but instead of developing them, they\u2019re tossed in the air like beach balls that you throw out into a crowd, one crowd-loving trick I was shocked that they didn\u2019t use. I couldn\u2019t even watch the climax because the staff was having us set up yet another effect. All of the bells and whistles quickly grew wearisome, and it\u2019s a shame that they took over to become the experience. I have never seen such reliance on spectacle at the expense of storytelling when there is such a good story desperately trying to be heard.<\/p>\n

INFORMATION<\/u><\/strong><\/p>\n

Tree<\/em> is at the Young Vic until August 24. You can get discounted tickets to some performances on the TodayTix app.<\/p>\n

Beware \u2013 or enjoy, I guess, if you\u2019re a monster \u2013 that they allow photography and filming of the entire show. People were filming the entire show right in the very front row, standing next to ushers, throughout the entire theatre. People were taking FLASH photography during big moments! People were taking live video and putting it on snapchat or whatever they do! The ENTIRE TIME. And it was fine with the staff, so if you are not a fan of that kind of thing, take a valium, and if you are, wtf is wrong with you.<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! Today\u2019s show is Tree, at the Young Vic until August 24. 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