By Liron Peer
A simple, yet authentic rendition of T.S. Eliot's poetic sequence ‘Four Quartets’, now at the Old Fitz Theatre as part of their late-night program. The four poems featured were written by Elliot during different years through his career, with the latter two poems being written amidst WWII. These poems being, Burnt Norton, East Coker, The Dry Salvages and Little Gidding.
The dingy atmosphere created by the effective collaboration of set, lighting and costume had a transportive feeling of limbo. The space was draped with an old, rough-looking textile curtain, a single lightbulb hanging from the roof, a metal bucket, a crate and a box. Each actor came out into the shadowy space with soiled bare feet and neutral coloured clothing, sending a message that they are conveyors of Eliot's words and story without exaggeration.
Patrick Klavins' direction gave each actor a unique essence brought to their respective poem, particularly through their movement in space and how they utilised the set.
Sandy Eldridge’s specific character choices immersed us in the world of the poem. I enjoyed the distinct dialect she executed. Charles Mayer's embodiment of the story within Burnt Norton was relatable and engaging. When watching Kaivu Suvarna, I was able to extract the message that he was exuding. However, as the piece continued, I felt a slight disconnect that dipped. This was the tight-rope balance that each performer was navigating. Lastly, Grace Stamnas brought an intrinsic intensity to her portrayal, which was refreshing to me.
The contributions from each part of the production had married well together; however, it may not have been enough to grip the audience for its entirety. There was an understanding of the sombre yet hopeful worldview the poems contain amidst a tumultuous backdrop and the insightfulness that it is still very relevant today.
