National Theatre Live: Yerma

A large part of me was very enthused, as Lorca was a great writer, very sad that he died so brutally too young with much more to give, and 'Yerma' is one of his best known works for good reason. Know him best through this, 'Blood Wedding' and a beautiful choral setting of 'With a Lily in Your Hand'. Was also interested as to whether Billie Piper was up to the task in such a demanding role and whether the play would work in a re-imagined modern setting.

This production screened as part of the National Theatre Live series was a triumph, it not just lived up to expectations it exceeded them. 'Yerma' means barren in English, but there was nothing barren emotionally about this production. Did admittedly have doubts as to whether a modern, non-traditional 'Yerma' would work, with there being plays and operas in my mind set in a specific setting and time period (i.e. not easy to imagine 'Dialogues Des Carmelites' in a setting other than the French Revolution working very well, it has happened before but it jarred too much when it did) and thinking it would be one of them.

It does work thankfully. The production looks good, have seen too many modern-set productions that don't which sometimes plays a factor, not elaborate but not cheap either. There is a lot of atmosphere here, especially in the lighting complete with sets and costumes that fit the play's theme and spirit beautifully. Cannot believe the swiftness of the set changes, not easy scene changes either, having seen so many overlong scene changes that really drag things down. Interesting use of music and sound too, that may not always enhance but doesn't detract either. It's very Brecht-like but didn't jar with the setting to me, though may be on the gimmicky side in use to some.

'Yerma's' stage direction is thoughtful and very emotionally charged. Not to mention tasteful, nothing comes over as strange or gratuitous and despite the modern setting and re-imagining it manages to be faithful to Lorca, which can't have been easy. A wonderful job is done with the characterisation, which is treated seriously but not overly-seriously and with great care without indulging.

Piper is an earth-shattering revelation in her most challenging role yet, any reservations are quickly and completely gone by the play's finish after being bowled over by such emotional power. It was a universally acclaimed performance winning record-breaking awards and one can totally see why. Brendan Cowell and Maureen Beattie in particular are great of the rest of a solid cast that should not be overlooked, but is sadly likely to be because of Piper being in such a different class.

Altogether, a triumph and Piper alone makes it a must watch. 10/10

This is, quite simply, the most eviscerating piece of art I have ever seen. I can say without exaggeration that no actor has ever achieved more than what Billie Piper delivers here. She takes the role to places I have never seen anyone go to. Her work is so soul-shattering, it is nearly impossible to watch as the story mounts toward its heartrending climax. Witnessing this performance is a seriously upsetting experience.... you will not be the same person afterward.

All I can say is, you owe it to yourself as a human being to run off to the next screening of this show. It is nothing short of a crime that the National Theatre hasn't released it on DVD so that everyone can see this extraordinary show.

This is a ferocious theatrical experience.

It's a little odd to see in a cinema because the episodic nature of it, and the titling that addresses each chapter and subchapter are rendered as video. In the theatre is it a lightbox or is video suspended above the stage? I know not.

Accompanying each title is music that starts out loud and ends up deafening, moving from luscious Spanish folk to out and out death metal.

It's a suitable underscore to the action on stage which charts the descent into madness of the main protagonist 'Her' played mindblowingly by Billie Piper.

Yerma is Spanish for 'Barren' and it's a 1930's tale by Lorca reimagined for 21st century London by Director Simon Stone in a dazzling production. It starts in almost chaos with 'Her' and her future husband John (Brendan Cowell) raging against each other in drunken love with a disturbing undertone of violence, almost hatred, underpinning their love.

He's a successful consultant, she a struggling blogger. Their highly sexual relationship is turning as she has notions of motherhood, he anything but. Nevertheless 'Her' wins the day and he agrees to conceive.

They never do.

Perhaps her abortion of a foetus from previous lover, Victor (John Macmillan), is the reason. But she has fertile eggs, he has strong sperm.

It seems it just isn't destined to be.

And that drives him to erectile dysfunction and stress, her to madness.

The sense of despair is tangible and grows unremittingly.

The pace picks up constantly.

The chapters flow faster.

The noise ratchets.

The glass box in which they perform is a goldfish bowl of voyeuriam. We shouldn't be here. It's JUST. TOO. INTIMATE. JUST. TOO. PRIVATE. We REALLY shouldn't be here looking in as this relationship collapses and erupts in total anger.

Technically the play is a masterpiece. It reminded me of Malthouse Theatre's incredible imagining of Picnic at Hanging Rock. Massive snap blackouts. Seconds later a carpet of grass, of carpet, of soil.

How?

Billie Piper is collosal.

Brendan Cowell is her match.

Simon Stone has imagined a masterpiece.

Billie Piper gives one of the most moving, powerful, brutally honest, vulnerable performances I have ever seen. If you're an actor (and even if you're not) do yourself a favor and watch this. It will break your heart, and it's absolutely worth it.