Love is a complex emotion, and it feels like every facet of that emotion has been explored on stage at one time or another. Starting out in the boldest of fashions, the Royal Court Theatre’s new artistic director, David Byrne, begins his tenure with a production that’s very different to what we’ve seen before. Margaret Perry’s adaptation of Maggie Nelson’s acclaimed book, Bluets, fuses poetry, philosophy, and live cinema, to explore the human psyche.
The original book comprises 240 short, non-sequitur paragraphs. It’s described as part memoir based on the author’s love for the colour blue. All of which is represented in director Katie Mitchell’s stage adaptation, with non-linear storytelling that flits backs and forth, and in and out of the life of a complex character. While Alex Eale’s design utilises almost every shade of blue imaginable.
The blurring of theatre and cinema is evident from the moment the audience enters the theatre. The stage is something of a technological dreamscape, with cameras and multiple screens all integrated seamlessly into the production.
It’s probably fair to say we’re all getting a little bored of cameras on stage by now, though in Bluets it’s genuinely different. Each actor is confined to their own space being filmed by their own camera, the result displayed on their own screen. But a larger screen above edits the individual shots into a composite film, in a process favoured by Mitchell known as ‘live cinema’.
It’s incredibly interesting to see this all come together and adds additional layers to the text. However, it can be overwhelming at points, and the old issue of not always knowing where to look crops up. The bigger screen is easiest, and perhaps most complete, but then you’re missing the live action cast.
And they really are at the heart of this production, with remarkable performances from Emma D’Arcy, Kayla Meikle, and Ben Whishaw. It’s not immediately obvious that each actor embodies a different facet of the central character’s psyche, with their voices intertwining and overlapping in a mesmerising dance of words and emotions. When you do realise, you can start to identify with the different performance styles.
D’Arcy’s raw intensity, Meikle’s thoughtful introspection, and Whishaw’s poignant vulnerability come together in a singular, multifaceted portrayal of a mind grappling with heartbreak, depression, and an obsession with the colour blue.
Nelson’s poetic and philosophical text is brought to life through Margaret Perry’s beautiful adaptation. The language is lyrical, weaving together fragments of thought, memories, and observations into a tableau of human experience.
The cast of three are precise with movements and gestures which tie in with the projected images, it’s marvellous to watch unfold, assuming you can manage to take it all in.
These technical aspects of Bluets are certainly what stands out from the evening. The video design by Ellie Thompson and the video direction by Grant Gee create an ethereal atmosphere, and the intimacy of the live camera work is thrilling for the audience.
The exploration of the human condition truly elevates Bluets to a work of significance. Through the lens of the colour blue, and the exploration of other artists who have an affinity with the colour (Billie Holiday and Joni Mitchell amongst them) the play examines the complexities of love, loss and desire.
Not everyone will love the experimental nature of Bluets, but those who embrace its unconventional approach will be richly rewarded.
