Dance of Death is a bleak portrayal of marriage from August Strindberg's perspective, where the couple finds each other repulsive and their love turned into mutual hatred. However, Richard Eyre's adaptation injects comedy and tenderness into this dark exploration, transforming it into a tragicomedy that balances savagery with humor.
The two lead actors, Will Keen as Edgar and Lisa Dillon as Alice, deliver stunning performances that bring out the spark and mischief in their characters. The chemistry between them is undeniable, making it easy to laugh at their absurd antics while also feeling for their pain. Keen exudes pursed-lipped stoicism until his outbursts, while Dillon's childlike spite makes her seem like the real victim of this toxic relationship.
Eyre's bold decision to set the original 1900 production in 1918, amidst the Spanish flu pandemic, is inspired. It highlights the anxiety and isolation that can arise during a global health crisis, making the play even more relatable today. The set design, featuring Ashley Martin-Davis's drawing room with long-faded grandeur, becomes increasingly claustrophobic as the characters' desperation grows.
As the play progresses, it becomes clear that this is not just a marital drama but an exploration of mortality and the fear of an empty universe without afterlife. The couple's destructive behavior can be seen as a desperate attempt to fill their void with each other. This realization adds depth to the production, transforming what could have been a joyless desolation into a rare and captivating pathos.
Ultimately, Dance of Death is a must-see play that expands beyond its initial misery-fest to become something much bigger – a nuanced exploration of human relationships, mortality, and our desperate attempts to fill the void.
The two lead actors, Will Keen as Edgar and Lisa Dillon as Alice, deliver stunning performances that bring out the spark and mischief in their characters. The chemistry between them is undeniable, making it easy to laugh at their absurd antics while also feeling for their pain. Keen exudes pursed-lipped stoicism until his outbursts, while Dillon's childlike spite makes her seem like the real victim of this toxic relationship.
Eyre's bold decision to set the original 1900 production in 1918, amidst the Spanish flu pandemic, is inspired. It highlights the anxiety and isolation that can arise during a global health crisis, making the play even more relatable today. The set design, featuring Ashley Martin-Davis's drawing room with long-faded grandeur, becomes increasingly claustrophobic as the characters' desperation grows.
As the play progresses, it becomes clear that this is not just a marital drama but an exploration of mortality and the fear of an empty universe without afterlife. The couple's destructive behavior can be seen as a desperate attempt to fill their void with each other. This realization adds depth to the production, transforming what could have been a joyless desolation into a rare and captivating pathos.
Ultimately, Dance of Death is a must-see play that expands beyond its initial misery-fest to become something much bigger – a nuanced exploration of human relationships, mortality, and our desperate attempts to fill the void.