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Review: Allison Browning
SAMUEL Beckett captures desperation, joy, positivity, struggle
and a vast array of extremes in human emotion, in his play Happy
Days, which is based around the premise of a woman being trapped
from the waist down in the earth, while her husband, too weak
to assist her, and unable to fully emotionally support her, lives
in his own 'world'.
Director, Marcelle Schmitz, has intriguingly captured the struggle
between husband and wife, making careful use of limited space,
to convey the couple’s strange existence.
Harsh, desolate lighting and a set composed of red, dry earth
compliments the intensity of the desperation between the two protagonists.
The play is driven by Winnie's dialogue, played by Marta Kaczmarek,
as she contemplates her existence, on a daily basis, while trying
to find inspiration from the boredom of her situation.
She struggles to find reassurance from her insular husband, Willie
(Boris Radmilovich), in between carrying out her cherished routines,
such as simple grooming, or touching the small objects that are
within her bag - her only possession.
Beckett’s story exposes a universal situation in a most
absurd way, and actually allows the audience to forget the surreal
circumstances, because they are so simple - unlike the complex
business of 'real life'. Hence, we are forced to focus on the
emotional connection between Willie and Winnie, as it is one that
we can all relate to.
Winnie may be unable to move from the mound of earth that holds
her, and Willie may hide in a hole of his own making (excuse the
pun), but thanks to the quality of the writing, we forget the
extreme nature of the premise, and find ourselves immersed in
the complex, despairing relationship between these two people.
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Radmilovich is beautiful as Willie. His face is hidden for the
first act, and he is barely seen, but the simple gestures, aged
physicality and small grunts of reassurance to Winnie provide
a watchable contrast between these two people.
By the end of the first act, there is even a desperation to see
this elusive man’s face.
Kaczmarek, too, deserves credit for masterfully creating a complex
physical presence, as Winnie.
Faced with the challenge of performing from the waist up, in
the first act ,and from only the neck up, in the second, she uses
her face and limited exposed body to convey a great deal of inner
conflict and contemplation.
Beckett's text is a wordy one, and this, unfortunately, is the
only major fault line of the production.
Much of the text is lost in the melody of Kaczmarek's voice and
accent, leaving the audience to read her body to fill in gaps.
It is disappointing, as both performers create a beautiful dynamic.
But it means that the audience is forced to concentrate very
hard to hear what is being said, and, as a result, is not always
able to fully digest and connect with all that is being offered.
Happy Days has a great deal to offer, but be prepared to listen
hard. It is almost as demanding of its audience, as it is of its
performers, but is mostly worth the effort.
Happy Days can be seen at Rechabites Hall, Northbridge, from
April 24 - May 8.
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