Fourth Monkey theatre company
Trinity Buoy Wharf, 17 April 2013
A disturbing Kafka short story is opened up with mixed results.
Dramatising a Kafka fable is a tempting idea, because his
work typically conveys a unique atmosphere, often felt to be peculiarly
relevant to our condition. And fables generally are better candidates for
staging than other purely literary forms such as poetry or realist novels,
where characterisation is better conveyed on the page.
This adaptation of In the Penal Colony necessarily expands
upon the background of the colony itself, something left vague in the original.
It’s a mixed success, perhaps because it transforms the
penal colony into the other type of colony (one that colonises a place),
established on a tropical island by a British Commandant in the 1950s, and
stuck in that era.
So the condemned prisoner becomes an oppressed native,
rather than an imprisoned criminal, and this adds an extra layer to the piece;
but overall I found this more confusing than enlightening.
The author’s distinguished (and foreign-speaking) visitor is
now a fairly normal modern British tourist, not a foreigner really but
uncomfortable around these reminders of a distant colonial past. It’s an
attitude I would find easier to share if the colonists didn’t already seem especially
grotesque, also oddly prone to childishness, as displayed in their enthusiasm
for their guest.
Did colonialism stunt their growth? Or is it the strong
leadership of the deceased Commandant that stunts it?
For Kafka, the colonists are not stunted at all, so the
question doesn’t arise. But at the end he does surprisingly suggest that the
population hated their former Commandant, and were less happy to witness his
exacting executions than the central character (the judge/executioner)
allows.
In this production that hatred at least makes sense – the hatred of
children for their tyrannical father.
One aspect of the fable is conveyed powerfully in this
production – the feelings of the central character towards the changes since
the old Commandant died. These may be humane changes, or at least
well-intentioned, but in her view they are destroying justice, so naturally she
fights them.
Here, the changes have more to do with the grinding
soulessness of bureaucracy, though presumably the new Commandant could cut
through this red tape if he didn’t harbour doubts about the humanity of the
executions.
Other aspects of the fable are less well done, or ignored
altogether. The disturbingly Christ-like cult of the former Commandant is not
present here, though we do hear his godlike voice, another confusing intrusion.
The self-execution (or rather unintended self-murder) of the judge/executioner is visually impressive but its various horrors go missing from Kafka's text.
The execution method itself is as imaginatively Dantesque
here as it is in the written story, and this is properly the abiding image of
the drama, just as it is of the text.
This was a site-specific drama, at the fairly isolated
Trinity Buoy lighthouse in London’s docklands. It was the immersive kind, where
the audience is encouraged to speak to characters, rather than the more spectatorly Punchdrunk
kind (for example). This increases our sense of the strangeness of the colonial
community, and the actors were committed and believable, though grotesquerie is
surely less challenging than realism.
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