“Dancer/choreographer Meryl Tankard’s work and dancers are the particular bodies which glitter most in Wendy Beckett’s Claudel” – Kate Stratford
4/5 bronze sculptures
In the arts world, some stars shine more brightly than others. Dancer/choreographer Meryl Tankard’s work and dancers are the particular bodies which glitter most in Wendy Beckett’s Claudel, apparently fresh from the Festival OFF d’Avignon and L’athénée Théâtre Louis–Jouvet Paris and now playing at the Sydney Opera House.
Initially, expectedly, the dancers are living sculptures for both Claudel’s and Rodin’s work. However, under Tankard’s lyrical direction, they become the emotions and experiences of the players. All this plays out most compellingly against the set design and graphic art of Halcyon Pratt. A sculptor’s studio. Stone and clay evoking the earth from which artists draw forth their inspiration, always looking for the form hidden inside. Elevated sculptures on plinths come to life and explore the emotion of the characters interacting; then fluidly, they are absorbed into the clay and stone textures of the design. One scene is especially harrowing in its pain and terror. It reminded me very much of the ground-breaking work of this style of theatre done by Dan Safer in New York over a decade ago.
Camille Claudel’s life and work provides rich material for storytelling. There was her complicated relationship with her teacher / mentor / lover Auguste Rodin; her uncompromising insistence on living life on her own terms; her outstanding artistic vision and talent and tragically, her mother and brother’s inability to accept Camille and their consequential incarceration of her in an asylum. There was also the final recognition of her talent which came too late to save her; for she died in loneliness, poverty and obscurity. There have been books and films and even a ballet about the beautiful genius that was Camille Claudel. Beckett’s is another attempt to celebrate this artist.
Making her debut at the Sydney Opera house in the role of Camille Claudel is Imogen Sage and as her bohemian lover Rodin, Christopher Stollery brings alive that almost grotesque figure of the older man irresponsibly seducing his young female pupil. Australia’s much loved Tara Morice is righteously awful as the unloving mother Madame Claudel. Other cast include Henrietta Amevor, Mitchell Bourke and recent graduate of NIDA Melissa Kahraman as Camille’s closest friend Jessie.
The structure of the play is as a series of vignettes, grabbing at the most seminal moments of Camille’s life. The dialogue, however, often seems stilted and the clarity of diction from some of the supporting actors was such that at times it was unintelligible, particularly in the early scenes. It is hard to engage with, to feel for characters when the language does not seem sincere.
Camille Claudel’s stellar light was something the world only saw after the star had died. Like many women, her talent was denied or relegated to storerooms and her genius was seen as dysfunctional – such genius in a man however, was celebrated. Are we making any more headway now? Perhaps, but the pace is still too slow.
Kate Stratford, Theatre Now
