Review of The Audit– Tuesday 13th March 2018
Hi!
This week, we were very eager to see Proto-type Theatre’s production, The Audit. We share a connection with Proto-type in that the company are very closely associated with the LPAC and with the University of Lincoln. This is the second theatrical work produced by the Proto-type concerning contemporary politics, and it did not disappoint. The performance combined delicate story telling with powerful political insights.
The alternate heading, Iceland, A Modern Myth, provides a more descriptive title. The production, through a number of narrative pathways, tells the story of Eva, a young Icelandic girl who witnesses the financial collapse of 2008. The performance highlights the impacts of modern advancements through the eyes of Eva. The modern world is a much smaller place than we think. It is a place where the actions in one place can very easily impact another, particularly when involving money… the performance then slaloms through the events leading up to, and during, the financial crisis from 2000 to 2011. The play is rich with political insight and provocative thoughts. It maturely comments on greed, corruption, exploitation and injustice, with reference to political ideologies including capitalism and neo-liberalism.
From the outset the auditorium remained absolutely silent. Every member of the audience was immersed within the thought-provoking performance. It was impossible to not be both fascinated and enraged by the information presented. The fourth wall was set aside as soon as we entered the theatre, and this complimented the overall style of performance. We felt included, welcomed and valued. The detail and accuracy of the accounts was admirable. We developed a connection, both personal and sympathetic. It was clear that much thought had been given to ensuring that the audience were aware that this impacted them too. It was not simply a piece of entertainment but a piece of relevant political history.
The relatively simple stage, (featuring just two chairs, a screen and two podiums), allowed the performers to dominate the attention of the audience. Lighting remained subtle yet effective, usually just highlighting actors with soft spots. Proto-type’s use of digital media is nothing unexpected. Yet again, it was executed to perfection. The screen projected still images, which a camera slowly moved over or zoomed in on. This subtle effect complimented the actor’s voice, painting distinct images of locations, objects or people, allowing the audience to visualise the story clearly.
In addition to this, the performance used the original music of Paul J. Rodgers, to accompany the dialogue. This musical accompaniment created a range of different moods. In certain instances it provided a mellow undertone to the performance, which shaped a mesmerising atmosphere. While at other times, heightened the drama, provoking tension, excitement and anticipation. Certain sound levels may have overpowered the language, which could be considered as a development note. However, the overall presentation was both moving and professional.
If the intention of The Audit is simply to get audiences to think, it would have achieved that indefinitely. Yet there is more. It provokes action. It reminds us of our own role in society. The performance calls for a wake up. A movement. An opposition. Perhaps the most impacting message came through the notion that, once the events of the play had transpired, we found ourselves back in the same system. Too often we may encounter situations whereby we wish things would go back to how they used to be. However, what it used to be lead to where we are now. In order for change we don’t need to simply try again with new leaders, ‘we need to change the game’.
Overall The Audit was an innovative take on political theatre. It provided a modern example of unparalleled authenticity, clear incentive and precise execution.
– Will, Composer.
INKA Off.