Concrete Playground

Adapting the work of an eponymous figure is undoubtedly a fairly daunting task. In this case, the work is Franz Kafka's The Trial: a surreal novel wherein Josef K is arrested for an unknown crime, tried in an unseen court and ultimately destroyed by the infinite and invisible system within which he is trapped.

Intangible characters, abstract emotionality and a plot, like the trial itself, seemingly without progress sets up some very real problems for a theatrical production. Louise Fox's adaptation therefore makes significant decisions, such as generating a point of climax not present in the original novel, that are thankfully justifiable in the greater scheme of a truly visionary production.

Under Matthew Lutton's direction, the cast balances moments of distinct characterisation, even humour, with an uncanny blending of personas. Composition and sound design work in such a way that we are uplifted by melody at one moment and disturbed by barely audible bass at the next. But perhaps the best quality of this production is its ability to embody the abstract labyrinth which is fundamental to Kafka's novel and aesthetic. Lutton's direction and Claude Marcos's set design work hand in hand to deliver a Lynch-influenced stage which has Josef K (Ewen Leslie) literally running circles. Leslie also deserves note for his performance in the lead role, which is nothing short of exceptional.

That said, this production is not one which will create a consensus of opinion. Even the climactic point created a tangible sense of the audience shattering, rather than uniting, in response to the performance. But surely it would be disloyal to Franz Kafka for things to be otherwise? I'd advise you to see The Trial, just in case, because productions like this one only appear once in a blue moon.

Image: Jeff Busby.