‘Gently interactive interpretation’: BEOWULF – Battersea Arts Centre

In London theatre, Opinion, Plays, Reviews by Laura KresslyLeave a Comment

Battersea Arts Centre, London – continues until 31 March 2018

Stories always have monsters. They may not be literal monsters, but anything that’s scary, or an obstacle, or destabilising, or otherwise threaten the story’s hero. Stories also always have choices. Usually, a lot of them, made by the hero, that determine his or her fate.

Beowulf has two monsters – a bog standard monster and a dragon – and many choices that first lead to his victory, then a tragic end. Since Seth Kriebel tells this story on his own, he enlists the audience to help him make Beowulf’s choices in this gently interactive interpretation of one of the world’s oldest tales.

The group choose-your-own-adventure is gently steered by Kriebel, accompanied by an expansive, Celtic-y soundtrack. With two smaller, subgroups of the audience chosen to sit on the stage and filter the rest of the audience’s input, the audience becomes one of the most important features and a multi-layered one. A meta-audience perhaps, as there is an audience watching an audience watching Kriebel, and traditional storytelling is as much about the listeners as it is the teller.

There’s a lovely acknowledgement of traditional oral storytelling, as the stage-audience is invited to tell parts of the story themselves. Both of Beowulf’s battles are told by two men representing the character’s friends, and their word becomes gospel. The other group choose his route to the King’s Hall, then the underwater lake, then the cave.

It’s here audience autonomy is somewhat reduced as Kriebel steers the story to its ultimate locations. It’s a nice idea, though prone to repetition, particularly if the audience isn’t listening to each other. The script and its language are simple and low on imagery, which the interaction does well to cover, but more detail description would be welcomed.

Kriebel possesses a calming authority that holds the stage well, particularly in the face of some audience silliness. His comments on the nature of storytelling and how people alter stories when they tell them is an important reminder in a world where everything is documented and everyone has a hot take.

Laura Kressly
Laura is a US immigrant who has lived in the UK since 2004. Originally trained as an actor with a specialism in Shakespeare, she enjoyed many pre-recession years working as a performer, director and fringe theatre producer. When the going got too tough, she took a break to work in education as a support worker, then a secondary school drama teacher. To keep up with the theatrical world, she started reviewing for Everything Theatre and Remotegoat in 2013. In 2015, Laura started teaching part time in order to get back into theatre. She is now a freelance fringe theatre producer and runs her independent blog, theplaysthethinguk.com.
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Laura Kressly
Laura is a US immigrant who has lived in the UK since 2004. Originally trained as an actor with a specialism in Shakespeare, she enjoyed many pre-recession years working as a performer, director and fringe theatre producer. When the going got too tough, she took a break to work in education as a support worker, then a secondary school drama teacher. To keep up with the theatrical world, she started reviewing for Everything Theatre and Remotegoat in 2013. In 2015, Laura started teaching part time in order to get back into theatre. She is now a freelance fringe theatre producer and runs her independent blog, theplaysthethinguk.com.