Review: Bluets, at Royal Court Theatre

Ben Whishaw stars in technically accomplished play that deals with themes of depression, pain, desire and heartbreak through the lens of the colour blue

Thursday, 30th May 2024 — By Lucy Popescu

Ben Whishaw in Bluets credit Camilla Greenwell

Ben Whishaw in Bluets [Camilla Greenwell]

MAGGIE Nelson’s Bluets (2009), a “poetic memoir” written in numbered segments, adapted for the stage by Margaret Perry, deals with themes of depression, pain, desire and heartbreak through the lens of the colour blue. Perry combines fragments of the book’s text with passages from Nelson’s poetry collection Something Bright, Then Holes.

Three performers, Emma D’Arcy, Kayla Meikle and Ben Whishaw narrate the story, taking us inside one woman’s mind, her thoughts and emotions, as she tries to process her grief after the breakdown of a relationship.

Various artists such as Billie Holiday, Derek Jarman, Joni Mitchell and Andy Warhol are referenced as we accompany the woman on her personal journey through several significant events.

Using Katie Mitchell’s Live Cinema technique, the actors stand in front of a screen with a filmed background while a camera (operated offstage) superimposes the actor’s image on the pre-recorded footage (the video director is Grant Gee, designer Ellie Thompson).

The stage management team provide the props (pillow, duvets, trays and so forth), create the sound effects and reposition the monitors while the actors do quick changes.

Musical material is expertly blended with naturalistic sounds (co-created by Paul Clark and Munotida Chinyanga) and the performers’ voices.

The combination of sound, music, lighting, film and live performance is undeniably impressive. It’s as though they are deconstructing the art of cinema and the art of the performance at the same time.

Bluets is an audacious opening production by artistic director, David Byrne (from Camden’s New Diorama), and entirely in keeping with his dedication to “risk” and “adventure”.

I imagine Bluets will win Nelson new fans but may also divide audiences. Technically it’s highly accomplished and the actors’ timing is impeccable. But I couldn’t help feeling that the intricate staging distracts from Nelson’s poetry and, like the colour blue, it ultimately left me cold.

Until June 29
royalcourttheatre.com/

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