By Their Own Hands – The Hayloft Project
This tests new boundaries, even for a company that's well in the habit of pushing the envelope.
Overview
By Their Own Hands is a startling contemporary take on Greek tragedy from The Hayloft Project. If you've seen previous shows from Hayloft (such as their excellent production of Thyestes) you'll know that startling contemporary takes on old stories are something they do very well. By Their Own Hands is another tour de force, unique in its approach and powerful in its effect.
It's a two-hander, featuring Benedict Hardie and Anne-Louise Sarks, and seldom will you see two performers bring such warmth and empathy to the gruesome tales of the Old Greeks. It starts with storytelling. Audiences are invited onto the stage and Hardie and Sarks walk among you all, recounting a story about the people of an ancient city. Occasionally they will endow one of the audience with the role of a character in the story. Some are made major players the night I go the man with the most impressive beard is given the role of king while others are bit parts, servants or messengers or people on the street. Don't worry, there's no audience participation expected. The action is all in the performers' well-honed words, with thechosen audience members there to give face to these faceless characters of myth. It's a neat device to make characters who are obscure, because of the age of the story or their minor role in events or the outrageousness of their behaviour, seem like real and vital people.
The text too is very personal, the focus on quirks of personality, secret thoughts, everyday events and personal moments. There is so much humour, pathos and romance in the story that it is easy to forget there is a tragedy brewing. Taking on a tale that normally gives people the squeams (you'll know it sooner or later, depending on how well you know your Greeks), it turns it into an unfortunate series of events happening to likeable people. It is very humanising and completely banishes Greek tragedy's usual overtones of the drear and bizarre. The impact of the tragic climax, when it happens, is far stronger for it.
Later in the piece, we return to our seats and the performers depict key moments from the story again, once in full abstract shock mode and then again solely through snippets of conversation between the characters. We see events in turn at their most grotesque and then at their most gentle. We go from horror to humour to heartbreak.
It is an unusual mix of elements that patch together into something very special and deeply affecting. Hardie and Sarks are both wonderful performers and their script, which they also wrote themselves, shows a keen eye for psychology and relationship dynamics. I haven't seen a show this acutely observed and powerful since... well, since the last time I went to see the Hayloft Project. This is a company with its finger on the pulse of human drama, and I'd need a dictionary of superlatives to tell you how much I love their work.
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