• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Tickets

La Ronde at the Bunker Theatre

February 18, 2017 by Alex Wood Leave a Comment

Review of: La Ronde at the Bunker Theatre
Price:
£19.50 - £12.00

Reviewed by: Alex Wood
Rating:
3
On February 18, 2017
Last modified:February 18, 2017

Summary:

La Ronde, originally an 1897 Arthur Schnitzler play, is here recalibrated and transformed into a commentary on the diaspora of different sexual encounters in 2017 London

More Details

Beneath the Menier Chocolate Factory a wheel of fortune ticks over, allocating roles and parts to four actors with a sense of complete randomness, disrupting and modifying dynamics onstage. At the start of almost every scene, the wheel, with each actor’s face present, is spun, the chosen performer gets into their costume, and the play continues. It’s a neat trick from writer Max Gill (reminiscent of a student show at last year’s Edinburgh Fringe) and certainly adds an element of unpredictability and anticipation to the overall affair.

La Ronde, originally an 1897 Arthur Schnitzler play, is here recalibrated and transformed into a commentary on the diaspora of different sexual encounters in 2017 London. We see individuals indulging fetishes, dealing with mortality, warping power dynamics or passing from anger to attraction – a veritable carousel of copulation. Since the parts are randomly generated, gendered ideas become both less specific and, as a result, more pronounced – Gill relying on gender ambiguous terms to reflect on both audience assumptions but also on how scenes and scripts can shift in power. Dependent on the identity of the actor playing the role, certain lines, for example, are played humorously by one actor, but if delivered by another of the four could have a lot more serious or intense ramifications. Often I felt myself getting distracted by the possibilities of other actors taking on roles, losing, perhaps, a sense of investment in individual scenes while toying with the wider theatrical concept at play.

It would be reductive to describe Gill’s choice as a gimmick, but certain times made the whole thing feel a bit too performative – the wheel spin at the start of each scene lasting far too long, disrupting some of the show’s overall pacing to a significant degree. The flashing lights and show-y effects exacerbated this somewhat, as if the selected individual was now part of some game show rather than a discursive theatrical piece.

Beyond this Gill’s narratives felt like they were trying just that bit too hard to show the underlying connectivity of things – the incessant references to a man throwing himself under a bus or remarks about Antony and Cleopatra all sticking out not in an intellectually stimulating manner, but more of a blunt attempt to tie the show’s disparate threads together.

On the acting front it was an interesting phenomenon to watch the performers deal with the roles given to them – since, in effect, they’ve had to learn every line of every character in the show. The performances will invariably be different every night, but on my performance it was Leemore Marrett Jr. who got the lion’s share of roles (a fortunate set of circumstances, as he packed each with a nuanced humour and poise) while strong turnouts from other individuals kept the show ticking over.

Gill’s concept is certainly watchable, and while the practice is not entirely perfect, theatrical experimentalism can only be encouraged. At the same time, given the problems permeating through the piece (and it wouldn’t be an online theatre review without one cheesy pun) it’s hard to consider La Ronde all that revolutionary.

Author: Alex WoodAlex is the former reviews editor at Theatre Bubble, but since changing position now contributes occasionally. He has been writing reviews for a number of years, as well as seeing his own shows performed. He has produced and marketed a number of performances at venues in London, Oxford, Edinburgh, including the world premiere of Philip Pullman's The Ruby in the Smoke.

Filed Under: Review

Join the discussion Cancel reply

INTERVIEW / Davinia Hamilton on Blanket Ban

Following its hit run at Edinburgh Festival Fringe, theatre makers and activists Davinia Hamilton and Marta Vella bring their rallying [Read More]

INTERVIEW / Richard Vergette on Leaving Vietnam

We spoke to Richard Vergette, writer and performer of Leaving Vietnam. Richard plays a war veteran who feels ignored and [Read More]

Review / The Journey To Venice at the Finborough Theatre

Bjorg Vik’s play The Journey To Venice is a delightful production, entertaining yet full of pathos. A play with a [Read More]

INTERVIEW / Tzarini Meyler talks KITES at VAULT Festival

We spoke to Artistic Director of LipZinc Theatre, writer and performer Tzarini Meyler about her upcoming show at VAULT Festival [Read More]

INTERVIEW / Naomi Westerman talks BATMAN (aka Naomi’s Death Show)

We spoke to writer and performer Naomi Westerman from Little But Fierce about her upcoming show at VAULT Festival Can [Read More]

Top Posts & Pages

  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Hang at The Royal Court
  • Angharad Jones on The Swearing Jar 
  • The Further Adventures of the Owl and the Pussycat
  • Tim Edge talks Under the Black Rock
  • The Donmar Warehouse's Julius Caesar at the King's Cross Theatre
  • Breach Theatre
  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • Ben Lloyd-Hughes in Kiss Me
  • Katy Owen: How to Apply to Drama Schools*
  • Alex Wood
    Contributor

  • February 18th, 2017
  • comment iconNo Comments
  • Facebook28TweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2023 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!