The Driver’s Seat: Muriel Spark’s darkly surreal novella: the world premiere by National Theatre of Scotland
At the Edinburgh Festival Fringe 2009, Laurie Sansom directed a 5 star production of The Prime of Miss Jean Brodie – Muriel Spark’s pin-sharp, poetic character portrait of her former school mistress – stylishly staged at the Assembly Hall.
Described as a “metaphysical shocker,” Spark’s surreal thriller of a novella, The Driver’s Seat, has now been adapted by Sansom into an exhilarating, intimate play for the National Theatre of Scotland.
“By 1937 some of my friends were getting engaged, even married. I longed to leave Edinburgh and see the world. It was on 13 August, 1937 when, alone for the first time in my life, I sailed on the Windsor Castle, to Cape Town, the first lap on my journey” Muriel Spark, Curriculum Vitae.
Spark’s anti-heroine- protagonist in The Driver’s Seat is Lise, a 34 year old woman, is also desperate to experience a foreign adventure.
The first scene opens with her sitting bold upright at her paper and file-strewn desk as a gaggle of grey suited colleagues gather for an office meeting.
Clearly she does not belong in this grey-toned environment with its daily dull routine. Slamming her hand on the stapler like a cry for help, her boss suggests she takes time out and prepare for her holiday.
The stage set is economically designed to denote an open plan office space with desks, tables, chairs, shifted in an instant to represent a kitchen, boutique, airport lounge, aircraft, hotel lobby, taxis, department store, police station.
We observe Lise as she purchases a summer dress arguing with the shop assistant about stain-resistant fabric – ‘Do you think I spill things on my clothes?” she barks at her. Back home in her flat, she meticulously packs her handbag with passport and airline ticket, a faint smile playing around her lips, knowing she is about to escape.
And so her journey begins with a flight from this northern city to an unspecified destination in southern Europe. At the airport, she is fashionably dressed in her new geometric, rainbow-coloured dress and striped jacket, attracting immediate glances from passengers.
But then, we hear the shocking news: “She will be found tomorrow morning dead from multiple stab-wounds, her wrists bound with a silk scarf and her ankles bound with a man’s necktie, in the grounds of an empty villa, in a park of the foreign city to which she is travelling on the flight now boarding at Gate 14.”
The action then follows the next 24 hours, like a reconstruction on Crimewatch or Countdown to Murder TV documentary. A large Perspex screen stands centre stage with the word VICTIM beside images, photographs, street maps and names of witnesses.
Flashback: now at her hotel in Italy ( Rome perhaps), she encounters Mrs Fiedke, an elderly widow whom she takes under her wing to go shopping. Lise explains that she is meeting her boyfriend later, at least will find a man who will be her type.
‘Will you feel a presence? Is that how you’ll know?’
‘Not really a presence,’ Lise says. ‘The lack of an absence, that’s what it is.”
We can sense that Lise is an unreliable narrator; her name is an anagram of Lies, a web of which she spins with carefree abandon in her distorted fantasy world.
Morven Christie is simply superb, her ice-cold detachment and manipulative behaviour reveal a manic, yet curiously enigmatic personality.
Her sense of glamour, vivacity and femme fatale charm attracts three men during the course of this, her final, day. Lise has a premeditated quest to experience alienation from reality as she takes over the driver’s seat on a journey of self-destruction.
The time-travelling scenario is vividly dramatised by the excellent international ensemble cast, many playing diverse roles. With live close-up cameras, film backdrops and an electrifying, atmospheric sound track, Laurie Sansom has adapted and choreographed this bleak, satirical tragi-comedy with subtle pathos and theatrical, dreamlike vision.
Performance dates:
Royal Lyceum Theatre Edinburgh, 13 – 27 June 2015 – lyceum.org.uk
Tramway, Glasgow, 2 – 4 July, 2015 – tramway.org
Matthew Bourne’s “The Car Man” – Bizet’s Carmen re-imagined. Festival Theatre, Edinburgh
The multi- award winning Choreographer- Director, Matthew Bourne must have amazing, colourful dreams, in which dance and literary classics – Nutcracker!, Sleeping Beauty, Cinderella, Dorian Gray – are given a contemporary makeover with inspirational, artistic vision. “Swan Lake,” his now legendary, all male, wittily-camp extravaganza became the longest running ballet in the West End and on Broadway.
The Car Man is Bizet’s Carmen Re-imagined but as Bourne admits, “I wasn’t particularly interested in the story of Carmen, the opera. I know there are parallels, but it was more the feeling of the music and the feeling of what we all know Carmen to be.”
(i.e. a seductively sexy Spanish gypsy girl in a cigarette factory, 1820, Seville).
Instead, the plot is based loosely on James M Cain’s 1934 crime thriller, “The Postman always Rings Twice”, a fever-pitched tale of an itinerant drifter who stumbles into a job, an erotic obsession, and murder.
The perfect plot indeed for a movie (1946 & 1981) and also an intimately-staged, chilling version by Opera Theater of St. Louis which was performed, as I recall vividly, at the 1983 Edinburgh Festival.
While the audience take their seats, the cast is ready on stage as a huge Billboard screen welcomes us to Harmony, Pop, 375, a rural community, mid-west America, late 1950s.
The huge steel scaffold structure of a set, designed by Lez Brotherston, is so realistic: a neon sign for Dino’s Diner with Daily Specials menu, Gasoline station & Car repair shop, a couple of vintage cars, tyres, mechanics in vests and jeans – the boys being eyed up by neighbourhood girls in pretty summer dresses. With beer and cigarettes, it’s time to party.
As a prologue to the passionate drama soon to unfold, the garage boys stop work and strip off to shower in the locker room/ apartment above the garage. A large sign, Man Wanted, is soon spotted by a drifter, just arrived in town, looking for work. Luca offers his services to Dino, while his wife Lana (named after Lana Turner in the 1946 movie), observes the newly recruited Car Man with personal interest.
“Stealing a man’s wife, that’s nothing, but stealing his car, that’s larceny”. James M Cain, “The Postman Always Rings Twice”
The narrative is brilliantly translated into action without words by the ensemble of dancers. Bourne’s choreography is driven, often at full speed, by the melodic music: seamless, synchronised routines with energetic acrobatics glide into graceful, balletic pas de deux sequences; a lively country & western barn dance shifts into beatnik jives in a nightclub.
When the summer night becomes Too Darn Hot, Luca and Lana, a sultry and seductive femme fatale, take advantage of Dino’s absence with lustful abandon. This is breathtaking, fast and furious, erotic dirty dancing, from floor to car hood to the table in the Diner, ( a scene borrowed from the 1981 movie starring Jack Nicholson and Jessica Lange).
When Dino arrives home, the climax of their brief encounter heads uncontrollably towards an act of shockingly graphic violence. What is so powerful is the portrayal of characters, expressing such spontaneous and truthful emotion and anger.
“The Car Man” is like a multi-layered, theatrical jigsaw of handpicked pieces from classical music, Hollywood movies, hard boiled crime fiction and dance.
The stylish period glamour, dramatic tension and artistic vision is like watching a Film Noir re-enacted live on stage – a steamy hot, Hitchcockian-style thriller of a road trip. For lovers of contemporary dance, the choreography is simply electrifying, exhilarating and exquisitely beautiful in its pace and passion.
Festival Theatre, Edinburgh – 9 – 13th June, 2015. http://www.edtheatres.com
Spring – Summer 2015 UK Tour dates: http://www.new-adventures.net