• 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
  • Ed Fringe

My Name Is Lucy Barton

June 11, 2018 by Adam McCormack Leave a Comment

Review of: My Name Is Lucy Barton
Price:
£15-55

Reviewed by: Adam McCormack
Rating:
5
On June 11, 2018
Last modified:June 11, 2018

Summary:

A perfect adaptation of Elizabeth Strout's novel

More Details

Turning a novel into a stage production is not easy. The nuances, thoughts and emotions that can be effectively expressed in prose are difficult to replicate in dialogue. This difficulty is enhanced further if the production is a monologue – leaving the performer devoid of anyone with whom to interact. That director Richard Eyre’s production of My Name is Lucy Barton is such a triumph is then mightily impressive. It works because of the emotional power of Elizabeth Strout’s short novel, Rona Munro’s adaptation, Eyre’s direction, and, most importantly, a mesmerising performance from Laura Linney.

With a simple stage featuring a chair and a hospital bed, and a backdrop of photographs to signal changes of location, Lucy Barton recounts the story of her finding her true identity during a 9-week hospital stay (the malaise is not disclosed). Her husband has, he claims, a phobia of hospitals and initially sends in a friend to visit, but ultimately resorts to summoning Lucy’s estranged mother to come from rural Illinois to her New York hospital bedside. Via a series of vignettes, where Linney plays both her mother and Lucy, we learn of the difficulties of her childhood and the complex and troubled relationship she has with her parents. Lucy’s father was a German POW, deeply disturbed by his actions in the war and, as he brought his 3 children up in extreme rural poverty, this left Lucy with some deep emotional scars. The stories are at times amusing and whimsical, but also disturbing, as Lucy recalls long periods when she was locked in her father’s truck – once with a snake – and her father’s mistreatment of her gay brother. Lucy relates her escape to New York, and the characters she met as she began her career as a, ultimately very successful, writer. However, it is the interactions with a mother that failed to protect her from her father’s emotional turmoil that gives us real insight into her character and Lucy’s journey of self-discovery. A journey that reaches a point where she can say: “My Name is Lucy Barton”.

Elizabeth Strout has expressed hope that the audience will be sufficiently absorbed to, for the one and a half hours of the production, briefly experience someone else’s life. On this measure the play is extremely successful. The power of Linney’s performance, and her ability to relate to an audience, not only keeps everyone fully engaged, but also facilitates a high degree of empathy. Strout has also said that she hopes that the play will help people to understand a little more about themselves. I suspect that this was not the reason that many in the audience gave Laura Linney a standing ovation, but as people journeyed home, for some, that understanding may have emerged. To some extent this is a story of modern America. It incorporates the fears surrounding the Aids epidemic, as well as 9/11, but also shows that while someone can come from extreme poverty and cross class lines, the process can be difficult.

Avatar

Author: Adam McCormack

T: Twitter

Filed Under: Featured, Review Tagged With: My Name In Lucy Barton, royal court

Join the discussion Cancel reply

NEWS / Living Record launches digital venue at the Brighton Fringe

The Living Record has launched as one of three new digital venues at the Brighton Fringe this summer. The first [Read More]

NEWS / Waiting for Lefty by Two Lines Productions Announce Cast

Clifford Odets’ 1935 agitprop play about cab drivers fighting for fair pay, has been adapted for 2021 and is presented [Read More]

INTERVIEW / Gavin Maxwell and William Townsend talk Anthropocene

Launching on this year’s World Earth Day (Thursday 22nd April), Anthropocene: The Human Era is a digital choose-your-own adventure from [Read More]

NEWS / Thick ‘n’ Fast announce new show General Secretary

Who run the world? A satirically comic journey through power and diplomacy as two highly unqualified women are suddenly landed [Read More]

Guides / 5 Tools for Actors to Enter the Theatre World like a Pro

Becoming a successful actor is no small feat. Fortunately, for those interested in improving their acting skills, plenty of tools [Read More]

Top Posts & Pages

  • Waiting for Lefty by Two Lines Productions Announce Cast
  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • Katy Owen: Auditioning for Oxford School of Drama
  • Writing the Perfect Press Release
  • Bull - Young Vic
  • Crowdfunding In Theatre - An Overview
  • How to Applying for Arts Grants and Funding
  • A Streetcar Named Desire- A cry of pain- Young Vic
  • Is this the real location of Ambridge?
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Avatar

    Adam McCormack
    Contributor

  • June 11th, 2018
  • comment iconNo Comments
  • Facebook1TweetLinkedInEmail

    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 © 2021 · Blue Pie Media

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

    Email sent!