Photo by Simon Annand
The Father – Footnotes
Brief Footnotes to our episode on The Father expand on the subjects of the changing set in the play, and the significance of Andre’s watch.
The changing set
We talked during the episode about the deliberate confusion that the playwright creates as to the specific identity of the setting that the action takes place in. The stage direction that precedes the first scene in the published text of the play reads simply “Andre’s flat“. It seems clear from the dialogue that unfolds that Andre’s daughter Anne is indeed visiting Andre in his flat during this opening scene. So far so good. The printed stage direction at the top of the second scene says “Same room”. However, during the course of the scene the man playing Anne’s husband Pierre tells Andre that this is their flat not his, as he believes. So where are we? As simultaneously a further diversion, and perhaps a clue to what is happening onstage, the direction for scene three advises: “Simultaneously the same room and a different room. Some furniture has disappeared; as the scenes proceed, the set sheds certain elements, until it becomes and empty, neutral space.” The clue is also a challenge to the set designer to create a room that could at a glance be both the original room and a different one. The set that retains a continuity while at the same time also changes defies specific identification, and results in our vicariously experiencing the same confusion about the surroundings as Andre does. He is not certain about where he is, and nor are we.
Kenneth Cranham and Claire Skinner at The Tricycle Theatre
Photo: Tristram Kennett
Andre’s Watch
Andre is repeatedly preoccupied during the play by the whereabouts of his wrist watch. As Christopher pointed out during our conversation, it is not uncommon for people suffering from dementia to lose things, including by putting them away in a specific place and then forgetting their having done so. We all do this of course, but it becomes more of a problem with the advanced loss of short term memory. For Andre the special place for his watch is a particular kitchen cupboard, and when Anne finds it there for him, he is offended that she knows about his hiding place. Her knowing something so personal feels like an invasion of his privacy, and his anger in response is partly an expression of his frustration and fear at his own frailties. As James Joyce said, “all anger is anger with yourself.”
His suspicion that the carer Isabelle, and then his son-in-law Pierre, have stolen his watch, also reflects his general unease. It would certainly be natural to be wary of people that you did not recognise who appear in your flat and behave in such a strangely familiar way.
Andre’s disproportionate preoccupation with his watch is not only an indication of the narrowing of the focus of his mind, but also an emotional symbol of his search for order. He may realise that he needs the watch to identify what time in the day it is, something he is not able to do with confidence now without it. His wearing it may also represent a simple need to reclaim his own identity. As I suggested in the podcast, he may not feel properly dressed without it. A potent symbol.
052 – The Seagull, by Anton Chekhov
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Anton Chekhov’s play The Seagull was a disaster on its opening night in St Petersburg in 1896. The unsettling blend of comedy and pathos that confused the first critics and audience were subsequently recognised as seminal in the evolution of modern drama.
I’m delighted to welcome back playwright and professor, Dan Rebellato, to talk about Chekhov and his timeless play.
051 – Closer, by Patrick Marber
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Patrick Marber’s play Closer depicts a merry-go-round of metropolitan relationships powered by sex and betrayal. Its clever and candid dissection of the destructive power of sexual desire hit a contemporary nerve when it premiered in 1997.
Clare Lizzimore, director of a new production at the Lyric Hammersmith, joins me to explore how the play’s unflinching sexual politics has aged twenty-five years later.
050 – Jerusalem, by Jez Butterworth
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Jez Butterworth’s play Jersualem is one of the landmark plays of the 21st century, acclaimed for both its lyrical and elusive text exploring English identity, and for its electrifying theatrical production. The once-in-a lifetime performance is happily being repeated with the current West End revival, and it seems fitting that our 50th episode be devoted to this remarkable play. I’m joined by David Ian Rabey, Emeritus Professor at Aberystwyth University and author of The Theatre and Films of Jez Butterworth.
The 2020 Theatre Diary – March
Before the theatres went dark this month I was lucky enough to see Caryl Churchill’s A Number at the Bridge, and spend more than seven hours in thrall to Robert Lepage’s Seven Streams of the River Ota at the National. Plus, some thoughts on what we miss when there is no theatre.
The 2020 Theatre Diary – February
Another great mix of shows this month, from Tom Stoppard’s new play, to Ibsen, Beckett and newer plays in smaller London venues.
The 2020 Theatre Diary – January
The January roundup included both classic plays, such as The Duchess of Malfi, Uncle Vanya and Three Sisters, as well as recent musicals Dear Evan Hansen and Girl from the North Country …
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