King’s Theatre, Edinburgh
Louis de Bernière’s novel was a huge hit when it was first published back in 1995, but – despite being something of a bookworm – I didn’t read it. The blurb just didn’t appeal; I’ve never been one for sentimentality. I didn’t see the film either, which – by all accounts – was even more schmaltzy. But, twenty-five years on, I’m feeling a bit more mellow and forgiving, and looking forward to finding out what the fuss was all about.
And I love this theatrical production, adapted by Rona Munro and directed by Melly Still. That is to say, I love the way it’s done: the kooky choreography and Mayou Trikerioti’s ingenious design. I’m not keen on the story – a predictably mawkish affair, covering every war-romance cliché out there – but the telling is rather wonderful.
We’re in Cephalonia, represented here by a huge rumpled metal backdrop, hanging skew-iff above the Iannis’s dainty herb garden, its sharp edges poised to destroy what they have grown. It dominates the stage, with light and video projections capturing the impact of war and natural disasters on the islanders’ lives.
Madison Clare is Pelagia Iannis, a young Greek woman whose first beau, Mandras (Ashley Gayle) leaves the island to join the war. When Cephalonia is occupied by the Italian army, Captain Antonio Corelli (Alex Mugnaioni) moves in to her home, and – despite their initial hostility – the pair soon fall in love.
There’s more to it, of course – this is a saga that spans fifty years – but theirs is the central story, the focus of the tale. Which is a shame, in a way, because some of the subplots seem more interesting: the gay soldiers, for example, or young Lemoni (Kezrena James)’s money-making schemes. Still, both Clare and Mugnaioni give compelling performances, and their affair is tender and believable.
What makes this, though, is the sheer theatricality, the way it revels in its form. The transparent white sheets, for example, that capture the horrific images of soldiers frozen in ice; the lazer-beam-like strings conducting the actors through the caves; the brutality of the firing squad in all its strobe-lit choreographed glory.
I like the animals too: Luisa Guerreiro’s goat, with its plaintive bleating and simple crutch-aided walk; Elizabeth Mary Williams’ lithe and playful pine martin, Psipsina, with its trusting nature and comic responsiveness. These add a light touch to a sad tale, providing warmth and humour, and representing innocence.
The lighting (by Malcolm Rippeth) is inspired: all coppers and golds, evoking the gorgeousness of the Ionian sea and the might of a volcano, the reflections from the metal backdrop rippling across the auditorium.
This is an accomplished production, that soars above its source material.