There’s nothing wrong with a little cultural vandalism so long as it’s to pick up the pieces and make something exciting, new and relevant for today. Vanishing Point’s ‘re-imagining’ of John Gay’s classic social satire transports the original’s basic story to a future dystopian world in an attempt to do just that, but the ambitious design sadly has the mooted group putting production values ahead of social ones.
We’re welcomed into an Alan Moore-esque future world by news presenter Mrs Trapes (Rosalind Sydney) in which chief-thief MacHeath (Sandy Grierson) and his gang of underground-dwelling, gasmask-clad robbers make their living ascending aboveground to take from those living the high-life. McHeath soon finds himself in jail, and his fate is down to both the political machinations of the state and his two girlfriends’ capacity for forgiveness.
Outstanding production values obliterate what voice there is
Vanishing Point continue to show a flair for rich, atmospheric and bold theatre, but a lack of substance has this work coming out disappointingly overblown. Kai Fischer’s stunning set, excellent music from live band A Band Called Quinn and a strong ensemble are given little dramatic anchoring, and it’s not long before you notice substance is playing second fiddle to style. It’s not that they didn’t try; the various potshots at society are often funny and succinct, but director Matthew Lenton fails to make it all cohere, leaving outstanding production values to obliterate what voice there is. At one point Sydney’s presenter is distracted from reporting on MacHeath’s trial by the fact that he’s too attractive, and while this might sum up much of today’s media who put glamour and celebrity ahead of social issues, it ironically seems to sum up the makers of this play too.
Royal Lyceum, until Sat 3 Oct
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