After the Ball is an innovative theatrical production that is delightfully ambitious in its form and staging. The play focuses on themes of class, violence, and the question of choosing to shy away from these issues.
The production aspect of this performance was its strongest feature. The staging was creative, and thoroughly successful. The story begins at the Bedlam bar—suddenly functioning as an in the round stage, then moving the audience with a transition mid-performance to the proscenium arch main Bedlam stage.
Tolstoy’s rendition was set contemporarily. Whilst this adaptation chose to set the production in 1940s England, with writer Freckelton explaining the piece was set in this time period to display the extremes of the class divide blatantly. Going into the production I was hesitant about this choice, but found it to be deeply successful and fitting with the themes of the story Freckelton wanted to highlight.
Throughout, the play was visually impressive. The costuming deserves much credit for this, as it delivered a cohesive range for the cast while also fitting perfectly with the time period. As does the skilful choreography, for example in the violent final scene.
I was particularly dazzled by Felix Nielsen’s compelling performance as Jack, as well as Merla Atwood’s charming delivery of her first character.
Much of the writing showed innovation and promise. However, one of the key weaknesses of the production lay in the writing of the dialogue. Often there would be a moment that really shone, showing a true mark of creative brilliance. Too often that was then dulled by a heavy-handed emphasis that seemed to over-explain what had just been communicated more subtly, artistically, and graciously: there is no need to tell the audience something that has already been shown, especially given that it was shown so well.
The production draws upon Leo Tolstoy’s short story by the same name, but it is worth noting that, as the writer said before the performance began: “Tolstoy would have hated this.” I admire the commitment to telling a new story and enjoyed the result. Fabulous results come from drawing on a text though by not revering it you lose out on somewhat.
Overall, there was much to enjoy in After the Ball and it is an interesting experience, with bold and engaging staging. Simultaneously, there were some limitations in the tendency to rehash what had already been well-delivered through analogy and metaphor—but that does not erase the craftsmanship or artistry of the production.
After the Ball is on until Saturday 17 October. Tickets available here.
Image provided to The Student by EUTC’s After The Ball as press material
