Woyzeck
This play has human suffering at its centre but is far from doom and gloom. Surrounding all this melancholy is a bold and dynamic take on Buchner's still relevant work, dealing with working class poverty, human suffering and our animal nature.
Overview
From the tip of his soldiers cap the long face of Woyzeck droops, like his story, down below his heavy black boots. As he twists and contorts his mind and body around a world of dehuminising sergeants and demeaning science, we see that this play has human suffering at its centre.
Yet, this show is far from doom and gloom; surrounding all this melancholy is a bold and dynamic take on Buchner's still relevant work. Director, Netta Yashchin, uses chorus lines, pop tunes and the odd Katy Perry song, inspiring in the audience a painful, awkward laughter a discomfort at our lack of intervention in this singular man's suffering. Left unfinished by his untimely death at 23, Buchner's work is a tragedy in itself, dealing with working class poverty, human suffering and our animal nature. We follow a character who is tortured equally by his promiscuous wife and bastard child, his sergeant ceaselessly reminding him of his weak moral character, and a scientist weakening his mind and his body with inhumane experiments and by allowing him to eat nothing but peas.
The endless torment and grinding down of Woyzeck by his tormentors is a constant reminder of the power of the rich and influential over the poor and inconsequential. The scientist is a commanding figure whom Woyzeck must obey her cold, analytical strength highlighting his world of madness, illusions and freemasons. The nameless scientist controls not only Woyzeck's every move and morsel but also her own humanity a lust not only for control that highlights the sexuality that runs throughout the show.
Yashchin uses palpably painful dance and movement to highlight Woyzecks journey through his own suffering. He leads the way with a grotesque physical manner as he moves around the stage, both animalistic and pathetic. Backed up by disjointed and writhing dance routines, one cannot help but squirm along with his tortured soul. This is particularly effective in the close-to-action seats of the Belvoir theatre as the whole stage pulls you in to each encounter between Woyzeck and those that bear witness to his demise.
Overall, this is a well-paced performance held together by a fine lead and powerful support. The entire show moves smoothly between intense dialogue and well choreographed movements leading towards Yashchin's self devised ending. There are many interpretations of Buchners original, with numerous conclusions to counter his untimely passing, so as to not spoil the surprise, let's just say that Woyzeck does not enjoy his peas.
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