Live theatre today champions design over acting

Complicites performance of ‘Drive your Plow over the bones of the dead’ was directed by
Simon McBurney from the original novel by Olga Tokarckzuk. It explores way in which
humanity and morality are fractured, through the eyes of the protagonist, Jannina who is
played by Kathryn Hunter. An eccentric, quirky elderly woman who takes the audience on a
journey through the key themes of vegetarianism, animal rights and religions oppressive
nature. She lives in a remote Polish village, which is portrayed in the lighting through the use
of blue/whitewash, highlighting the poor weather. The revolutionary use of technology
enables theatre today to enhance design elements leading to a heighted experience for the
audience. However, sometimes the use of production elements can lead to distraction from
the most important element of a production, acting.

During the opening, the set is minimalistic, containing Hunters microphone centre stage.
This was an effective decision made by Rae Smith because it adds a sense of ambiguity to
the beginning of the performance and the audience had to infer on what the play would
consist of, rather than it being explicitly portrayed on set. The microphone is also significant
through the play as it represents Hunter as the narrator to the performance, instantly
breaking the fourth wall to build rapport with the audience. Through the play, characters
rarely speak into the microphone and when they do, they ask for Janina’s permission which
highlights her power, symbolised through the microphone. Seeing Hunter take centre stage
upon entering fills us with a sense of empowerment as it is revolutionary for an older
woman to do so. Especially with her body language portraying her as old and vulnerable. For
example, leading with her head and hunching over, making her appear older. This made the
audience feel sympathetic towards her character, however this was contrasted to her quirky
and eccentric characteristics. Paule Constable’s decision to keep the house lights on during
the beginning of the performance was highly effective. This was because it made the
audience feel like one big community which was important as the message of the play was
aimed to all of us as a society, which Constable demonstrated through lighting. Furthermore,
it gives the audience an opportunity for reflection on their personal role within the animal
justice system. Additionally, her mention about Covid 19 added a sense of relatability which
immediately built a positive relationship with this character.

Janina’s costume was a mismatched sportswear and quite casual, but colourful, contrasting
to the ensemble in plain puffer jackets. This was important in allowing her to stand out
amongst the ensemble, representing that she is outcasted from their beliefs of animals, as
hunters. Overall, I found the opening an effective way of leaving a sense of ambiguity for the
audience with the set design. This highlights how the play uses minimalistic design elements
in the opening to create meaning and enhance characterisation. Also, using production
elements to serve as means of reflection through the use of the houselights remaining on.

As the play progressed, I still felt that the design elements where
critical and used relevantly to enhance the key themes of the play
and the chosen practitioner. For example, during the hunting scene
that is set in the forest as a group of local men go hunting with
Janina. During the beginning of the scene, the ensemble effectively
used chairs, a minimalistic prop to create sculptures of the deer
they encountered in the forest. For instance, they physically
portrayed the deer’s antlers by placing a sculpture either side of one
of the ensembles head, combined with their animalistic
characteristics. Such as crawling on all fours and displaying deer
like attributes such as being alert and curious through their facial
expressions and body language such as turning their head quickly.
The symbol of the deer then became a motif through the play which
symbolised nature and the wilderness, further highlighting the
setting of the scene as it is in a forest. I found this effective as it
highlighted the play’s practitioner as Physical theatre is a key part
of Complicities’ style. As well as the portrayal of the dog in the
opening where Janina attempts to set free her neighbour’s dog
trapped in a hole. The use of the actor’s realistic physicality whilst
portraying the dog allowed comic relief for the audience from the
tragic death of the dog. Back to the hunting scene, the physicality
of the ensemble satisfied me with their unison movements. For
example, in synchronisation, they put their coats on the hangers
which then got lifted and represented trees in the forest. This
enhanced the setting, and the unison created an unsettling and
abnormal atmosphere.The synchrony of the ensemble further
reinforced the practitioner influence as ensemble work reflects one
of complicites main features.

Moreover, the use of sound design by Christopher Shutt really

created a horrorful atmosphere during Innards’ death. Innard is a
young man in the play who shares Janina’s love of astrology. During
his death, there is menacing and suspenseful sound design which
heightened the atmosphere, such as dogs barking and bloodlust
screams, alternating between brooding suspense and doleful
solemnity. This was unsettling for the audience because during the
opening the design elements create a sense of inclusivity for the
audience by keeping the house lights on and flashing white bright
lights on the audience through the play. The sound design then
made me feel uneasy as the play felt very intimate, so the additional
horrorful sound effects heightened the tension.

The religious scene also felt extremely reliant on design which built
up the tension even further without disrupting the emotional and
chaotic scene as we discover Janina’s dark side. During this scene,
Janina becomes agitated and uncomfortable during the service
delivered by the priest about submission to God. The Orange/Yellow
wash, contrasted with the cold and prestige feelings from the priest
caused too much complexity as the characterisation did not match
the lighting wash. However, the deer presented on the stained-glass
window paired with the relationship between the audience
characters refurbished the key themes of animal justice in the play.
By having humans and animals so similarly connected, shows that
humans are part of the animal kingdom. This is further evident
through the use of costumes. The ensemble wears a variety of
animal masks combined with business suits, connecting both
species and allowing the audience to reflect on their part in the
hierarchy between humans and animals which was Simon
McBurney’s intention.

There was a significant moment towards the end of the production

where Hunter was being carried by the ensemble, highlighting her
vunrability and how the ensemble represent society, by physically
restraining her from her views and opinions. She is stripped from her
clothes by the ensemble and forcefully put in a cream coloured, long
rigid t-shir. Constable used lighting to give the impression she is in a
small box by creating a square spotlight centre stage. These
production elements helped to portray how the ensemble strip
Janina from her beliefs and enclosed he, leaving her trapped. Her
fatigued physicality combined with her desperate and horrific facial
expressions allowed the audience to feel sympathy for her
character. This was important as later on the audience discover
Janina was responsible for the death of the hunter so having the
audience feel sympathetic allows for the audience to feel shocked
later on. Finally, we see her breakdown and she starts to become
more psychotic which was what McBurney wanted to lead up to
with inspiration from the book. Without these elements, it would not
have had the same effect on the audience who may be struggling
with the same issues of societal prejudice.

The scene of the president’s death effectively used a split stage

between Janina and the president’s wife as well as the debauchery
in the club behind them with the ensemble dancing recklessly in
animal masks. The president’s wife is distraught and emotional
being comforted by Janina. The use of the bright LEDs added to the
mystery and fun of the performance. However, the foreground is
dimly lit in comparison to the bright LED’s contrasting the
perception of the characters
and their animal costumes. Furthermore, there is a contrast
between your Janina’s facial expressions as she coldly stares into
the president’s wife, taking on the role of her wolf characteristics,
foreboding her evil. Additionally, the physicality and dancing of the
ensemble in the background was effective as it contrasted with the
intense scene happening downstage. McBurney may have kept the
dancing from the ensemble on stage to add a chaotic atmosphere
as we are discovering Janinas evil side which adds a sense of
foreboding.

To conclude, I believe that design was used to enhance the themes

of the play and the audiences experience. In some moments I
believe the design elements added complexity to the plot but it was
constantly overridden by the powerful acting. In most sections I
found that the design element supported the acting rather than
championing over them.