A poignant series of stories for modern times
‘Ordinary Madness is about the beauty in the dirt, the extraordinary in the mundane, the hard shell with the soft centre, about that bluebird in our soul that wants to get out.’
Based on 6 short stories written by American poet and novelist Charles Bukowski, Ordinary Madness is a dramatic composition of the written word. A reworked version of their previous production Life with a little L, this show is created in the ‘unique stage language’ of the Art Theatre London ensemble.
Beginning with a microphone stand on a bare stage, the opening of this show features several short poems written by Bukowski, read from a book by the actors. It’s a rocky start, not reflective of the quality of the majority of the production, which involves the stories being both narrated and physically acted out by the performers.
And they are brilliant performances, with the 5-actor ensemble embodying a wide range of characters, most just regular people struggling to get by in 1960’s/70’s America. From a man who marries a Texan heiress to a 4 year-old infatuated with her criminal daddy, this is a production that tests the capabilities of any performer.
James Viller’s comic portrayal of a man in love with a mannequin is a highlight, and Victoria Valcheva plays the mannequin in question with almost eerie accuracy. Lighting by Benjamin Vetluzhskikh compliments each scene perfectly, creating points of difference to help the audience recognise new spaces and themes.
Francesca Wilson Waterworth shows exceptional versatility with perhaps the most diverse range of characters to play. It is a joy to watch her transform from a lonely wallflower to a sex kitten landlady to a curious 4 year-old.
Directed beautifully by Anya Viller, each story is incredibly dynamic and unique. Making use of the minimalistic staging by set designer Alexandra Dashevsky, Viller ensures the entire space is utilised, transforming it from house to caravan to stairwell to car.
Despite the exceptional performances, the show drags. Just shy of 2 hours without an interval, this production is a couple of stories too long. With no cohesive through line tying everything together, there’s nothing to keep the audience engaged over such a long period. The stories are well written, directed and performed, but are more suited to a variety performance or gala than added together over such a lengthy stretch. Injecting an overarching story or additional character arc may have served to increase momentum, as currently the show feels static.
Despite this, Viller is right when she says these are ‘stories about all of us’. Each character is recognisable, each sad tale familiar. The stories are steeped in everyday misogyny, Art Theatre London showing us that the US 70 years ago is sadly almost interchangeable with modern society today. It is a stunning display of creative prowess laid out on a bare stage for all to see.
Runs at Riverside Studios until the 9th March.