Review: The Love of the Nightingale, Bierkeller

An extraordinary production can be found at the Bierkeller this week, where Bristol Old Vic’s Young Company are staging their version of The Love of the Nightingale, Timberlake Wertenbaker’s adaptation of the Greek legend of the rape of Philomela.

Anyone who caught the company’s masterpiece Under a Cardboard Sea at the main theatre last year will be familiar with the startling sense of ambition that the Young Company inject into their work: and this production, directed by Miranda Cromwell, is no exception.

The company’s choice of venue – a grimy bar, rather than a 250-year-old theatre – certainly adds to the atmosphere of haunting dystopia and fits the use of electronic dance music as well as the Baz Luhrmann-style choreography and general sense of scale, although at times the Bierkeller can barely contain the energy exuding from every square inch of stage.

The first half of the performance bursts at the seams with a profusion of dance, song, characters, shouts, cries, tragedies, jokes, entrances and exits, and the interval comes as something of a relief.

Beyond it, though, once ears, eyes and minds have rested and had a chance to catch up, what emerges is theatre of such a supreme quality that it counted as among the most emotionally tumultuous experiences of my recent years, whether sat in a theatre or not.

There is a very high standard of performance throughout the cast, but there is no doubt that the heart-rending and immensely powerful performance of Imogen Downes as Philomele is central to the show’s successes.

The play cleverly examines the most horrendous treatment of a young woman at the hands of a conquering warlord (or ‘king’, as they are often known) through modern eyes, forcing us to discard the casualness with which we accept that the subjugation and brutality experienced by women throughout history was just “how it was”, and therefore somehow tolerable.

The strength and character that Downes exudes in her role help us to realise the utter scale of the inhumanity and suffering that she and the nameless, countless others have been put through (and still are today) as a routine aspect of human existence: and it is this realisation that devastates the audience so utterly.

From a strong cast, it’s also worth singling out Hannah Hecheverria (Procne), and not just for her fine singing voice, and Alexandra Wollacott, who, in voicing her character’s envy of Philomele for being the object of desire, has to deliver some of the most challenging sentiments imaginable. Despite his smaller role, Jacob Rayner Blair also impresses.

As ever with the Old Vic the music, by Jack Drewry, is absolutely first-rate, producing changes in dynamics and aggressiveness reminiscent of  the excellent (and oft-neglected) band Archive. And the production asked very topical and important questions about gender, particularly with Toby Robertshaw’s solemn and brutish Tereus being one of a very few characters with an unambiguously traditional – and utterly repugnant – identity.

Definitely worth seeing – but brace yourself for a throbbing assault on the senses before the interval, followed by a devastating attack on both your heart and conscience.

The Love of the Nightingale continues at the Bierkeller until Friday, January 13. For more info and to book tickets, visit www.bristololdvic.org.uk/the-love-of-the-nightingale.html