Realism
By Anthony Neilson
National Theatre of Scotland
Royal Lyceum Theatre
*****
At its first Edinburgh Festival and Fringe, the newly-constituted
National Theatre of Scotland is proving to be as exciting as everyone
hoped that it would.
Gregory Burke's Black Watch was sensational but the latest
play from a man who has a reputation for tackling dangerous subjects
is a close second.
Realism is in some ways anything but, and arguably, one might
question whether the "sur" was missed from the start of
the title.
In recent years, the Festival has delved deeply into the minds of
playwrights for its contemporary Scottish work with David Greig's
San Diego and David Harrower's version of The Girl on the Sofa
by Jon Fosse both far from the conventional well-made play.
Now, with Realism, Anthony Neilson enters the dream world
of his flabby protagonist, the very human Stuart McQuarrie played
by an actor of the same name.
For around an hour and a half, we experience what it must be like
to be this plain bloke and to understand his pleasures and worries,
as we follow his dreams through a single tossing and turning night.
The manifold issues build to a very subjective view of the world
today seen through the mind's eye of a Radio 4 listening, beer-guzzling,
averagely happy everyman representing us all.
The frankness and honesty with which Neilson addresses the problems
of a man approaching middle age having ditched his girlfriend for
no better reason than that he doesn't love her is impressive.
The play is very funny, since the writer includes so many different
aspects of Stuart's life and obliquely those of the people who surround
him. His mates are laddish and he has a mischievous inner demon (in
a bright green vest), while his two former girlfriends (played by
Louise Ludgate and Shauna Macdonald) both have attractions for him,
although it has to be said never more so than when having sex together.
His mother is overbearing but loving and is involved in a really
thought-provoking scene about cold callers. Machinery rarely obeys
the lazy man's orders and his charmless cat is an unforgettable comic
creation.
The situations in this ingenious drama are all believable and help
viewers to recall their own dreams whether of life or death, family
or friends. There is even a bizarre scene involving the Black and
White Minstrels as Neilson plays up to his reputation by taking yet
another pot-shot at a taboo subject.
At many points, one wonders whether we have finally reached the world
of wakeful reality and it is a tribute to the playful playwright as
director that we are often unsure.
The denouement is a special moment that should prove delectable to
every visitor, at least until some critic gives the game away, and
perfectly tops off a splendidly intelligent and adventurous evening.
The ensemble cast around McQuarrie (including the writer's father,
Sandy) all do their bit, while designer Miriam Buether's Salvador
Dali-influenced set, showing Stuart's creature comforts spread in
sand, creates an appropriate atmosphere.
Judging by their two contributions to Edinburgh 2006, the National
Theatre of Scotland is already a force to be reckoned with and if
you hear of a production at a local theatre, rush out to get a ticket.
Philip Fisher
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