If you’re familiar with Franz Kafka, you’ll be aware of the themes so often present in his work: isolation, alienation, mental and physical struggle – the epitome of ‘Kafkaesque’. Acclaimed German director Gabriele Jakobi’s adaptation of Kafka short story Reports to an Academy at the Old Red Lion homes in on all these themes, and adds animal rights into the mix.
Meet Red Peter, the character at the heart of the award-nominated Camden Fringe Festival hit, which returns to London for a March run at the VAULT Festival. Time to book your tickets!
Grid Theatre’s acclaimed staging of Red Peter, an award-nominated hit at the 2019 Camden Fringe Festival, will head back to the capital later this spring for a short run at the VAULT Festival. Book your tickets now
suspect this show will have a future, evolving life, and it is well worth checking out if it appears on your radar. I’d certainly be interested in seeing what they do with it next.
“They are good people, despite everything that happened…” Have a sneak peek at what to expect from Red Peter, Grid Theatre’s adaptation of Kafka’s A Report to an Academy at Camden Fringe, then book your tickets.
Grid Theatre shines a spotlight on ideas of civilisation and humanity with Red Peter, the stage adaptation of Franz Kafka’s A Report To An Academy, which runs as part of Camden Fringe next month. Book your tickets now!
When Old Dog Theatre’s latest production of Kafka’s The Castle meets the BBC surreal comedy A League of Gentlemen or so it seems, strange things start to play out on stage.
Old Dog Theatre’s adaptation of Kafka’s The Castle makes Kafka feel accessible. Kafka’s writing about bureaucracy and being a stranger in a strange land is as relevant as ever.
The auditorium is a coliseum, with a tremendous conveyor belt slicing it in half, flappy black curtains at either end. K wakes with strange agents at his door. He’s arrested. But what on earth are his crimes? Shrugs and evasion are the reply. It’s a frustrating, but gripping , pencil pushers, forms, magistrates, hookers and lawyers curdling into madness. Scenery, furniture and people are flung down the wooden and Guantanamo-orange stage with fine precision. Trials “build up” K is told early on. The only time the conveyer reverses is to take him to his death.
If I have a prediction about The Trial at the Young Vic, it’s that every reviewer will mention the conveyor belt and three out of five of them link it to The Generation Game. The auditorium has been gutted and re-built with stacks of ‘juror’ seating in plywood encasements either side two moving rubber pavements surmounted by a massive orange-painted box with an equally massive and probably symbolic keyhole cut in it. At least you won’t recognise it as the same space in which the same director gave us Annie Get Your Gun seen through a letterbox.
There are not many performers who could accomplish what Kathryn Hunter has achieved in this version of Kafka’s A Report to The Academy, interpreted for the stage by Colin Teevan and masterfully directed by Walter Meierjohann – her transformation to a monkey is beyond physically impressive. Hunter is wholly mesmerising throughout the performance- from the top of her jaunty bowler hat right down to the tips of her crooked fingers when she extends her hand to greet. She holds a command over the language and projects it with a rich and expressive tone of voice and incredible physicality. From the moment that we first see her shuffle across the stage, her body depicts a bewildered beast trapped halfway between ape and human. Hunter performs with wit and precision – furrowing her brow, her arms swinging and contorting uncomfortably and her loping gait – every sinew of her body works to create an entity trapped between the two different states of being. Startled by the world, she exhales heavily through her nostrils admitting that questioning freedom “leads to the most profound disillusionment”.