4 STARS
I had no idea what to expect upon entering the dark room of The Nottingham New Theatre’s studio, this being my first experience of the NNT’s renowned Fringe Season. It is safe to say, however, that I was shocked and in awe of the talent portrayed in the small, intimate space in front of me.
Written and directed by Tom Proffitt, Dark Room is an intimate insight into the life and mind of one man, the enigmatic and evidently flawed ‘Filmaker’, whose mental state slowly deteriorates during the course of the thirty-minute extended monologue, revealing his insecurities, passions and thoughts on film, life, audiences and everything in between. Exploring themes of childhood, mortality, talent and creativity, the play seems to explore the love/hate relationship between the creator and created, exposing the frustrations that are encountered everyday by visionaries, and laying them bare for the audience to examine. The title of the play wonderfully encapsulates the oppressive and troubling atmosphere generated by the creative team, especially Lighting Designer Sam Osborne. In the dimly lit space of the theatre the audience feel as trapped as the ‘Filmaker’ does: by both the dark room of the cinema and the dark thoughts inside his head. The set was the picture of a troubled artist’s abode, scraps of film reel and videos littering the floor, the space dominated by a huge film projector and screen, on which scenes from films kept flashing up, thus visually depicting the ‘Filmaker’’s inner thoughts through his beloved medium. Although this fitted in well with the obvious theme of the play, the scenes onscreen were occasionally distracting for audience members, detracting from the otherwise intense experience of the ‘Filmaker’’s uncomfortable opinions.
Chain-smoking, alcohol-drinking and a vision of nervous energy, a huge amount of praise must go to the play’s sole actor Ted Marriott, whose prowess at playing the disturbed genius of the ‘Filmaker’ was transfixing. At times defensive and hard, at others completely vulnerable, Marriott showed true expertise – it is hard to believe this is his first production at The New Theatre. Powerful and hard-hitting in the ‘Filmaker’’s contemplation of death, Marriott has the ability to truly interact with and influence the audience. During his pleas for help, reaching out directly to the spectators, I experienced a sense of profound discomfort, as did many in the audience members – a testament to Marriott’s acting skills.
Similar praise must go to the play’s creator Tom Proffitt and his producer Ed Eggleton. In creating this tortured representation of the frustrations of being an artist and visionary, the pair have succeeded without a doubt. Powerful, metatheatrical and thought-provoking, this is one of The New Theatre’s most innovative offerings. The play’s ambiguous ending, a sly nod to the ‘Filmaker’’s comment on ambiguity in films, left the audience moved and wondering at the fate of our protagonist – another sign of Marriott’s power, causing the audience to invest in his character. Intense and absorbing, this production certainly made an impact.
For more information on the production and how to book tickets:
http://newtheatre.org.uk/whats-on/
Edited by Georgina Varley
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