|
|
|
|
|
Art show not to be missed
The Pitmen Painters Malvern Festival Theatre ***** THE Pitmen Painters is an extraordinary
piece of theatre. It will twist at your emotions, making you laugh,
sigh and yet also feel saddened within just a few hours. But most
importantly, it will make you think. That's because this thought-provoking play, based
on a true story, is multi-dimensional with more perspectives than a
Picasso painting. On the surface, there is the camaraderie among a
small motley group of gritty miners and their friends based around
Ashington Mine, in Northumberland, who come together at the Workers'
Educational Association for an art appreciation class. But as the story unfolds, the audience not only
sees the group develop under the stewardship of posh academic Robert
Lyon (Louis Hilyer), but is also treated to in-depth discussions on art
using cleverly arranged projector screens, including the real-life
paintings created by the miners portrayed in this play. It's extremely funny yet tender as we see
friendships, minds and opportunities grow within the group (an almost
Dad's Army portfolio of characters) during 1930s Britain, through the
Second World War and beyond. But the elephant in the room at all times is the
class divide.
There is always an undercurrent of politics,
particularly with the glib comments from socialist dental engineer Harry
Wilson (Joe Caffrey). While his remarks add to the banter between the
men, he also makes some stark points about the living and working
conditions in pre-war Britain. The brief glimpses we are given into what
the miners endured every day down the pits stand out even more. Then there's the constant question of whether art
is confined to the more fortunate or if it is as accessible to these
working class heroes - especially the most talented of the group, Oliver
Kilbourn (Philip Correia), who is propositioned by a socialite to give
up his mining life to become an artist. This award-winning complex play, created thanks
to a joint venture between Live Theatre Newcastle and the National
Theatre, benefits hugely from the wonderful rapport between the actors
on stage, who are all exceptional, as is the skilful direction by Max
Roberts. The first half swiftly moves along with wit,
frivolity and paintings, the highlight of which is a hilarious scene
when a model comes to pose nude for them. And although the second half stalls a little at
first under a far more serious tone and a little too much preaching in
places, it thankfully picks up again to conclude on a high note - the
cast coming together to sing the Miners' Hymn for a deeply poignant
finale. The Pitmen Painters has already attracted huge
success on Broadway and the West End, so theatre-goers should see this
tour as a stroke of luck as this play is simply unmissable. To 30-03-13 Alison Brinkworth
|
|
|
|
