L-R: Eve Burley and Oliver Devoti in ONE HAND CLAPPING. Photo by Emma Phillipson. |
Anthony
Burgess wrote the novel One Hand Clapping
under the pseudonym Joseph Kell in 1961.
The book subsequently was adapted for the stage by Lucia Cox and was first
produced at the Bolton Octagon Theatre in Lancashire, Burgess’s birthplace, last
year. The play has since crossed the
pond and, in a House of Orphans production and under the direction of Lucia
Cox, is currently enjoying its US premiere at 59E59 Theaters in midtown Manhattan
as the second production in this year’s highly regarded annual Brits Off
Broadway program.
The
central character in One Hand Clapping is
Janet Shirley (Eve Burley), a 23 year old ordinary housewife and supermarket
clerk, content with her simple lot in life and relatively happily married to
Howard Shirley (Oliver Devoti), a 27 year old sleep-walking,
obsessive-compulsive, used car salesman, who appears to be rapidly descending into
full-fledged madness. Nor is Howard
simply OCD and somewhat loopy; he also has a photographic memory and may even
be clairvoyant (or perhaps just very lucky) as well.
It
is Howard’s photographic memory which enables him to win 1,000 pounds on a
British television quiz show and his clairvoyance (or plain dumb luck) that
results in his parlaying the 1,000 pounds into 79,000 pounds by betting on the
horses – enough to bring about a really substantial change in the Shirleys’s
lives. Or so they thought.
Their
new-found wealth could just be used to buy stuff – a mink coat for Janet, for
instance, or fancy dinners – but as they quickly discover, that doesn’t really work. Indeed, Janet finds that she much prefers “something nice to eat, beans on toast and
some corned beef….a welcome relief after all that fancy muck…duck in some
horrid orange sauce and fancy Champagne when a cup of tea would have done just
as well.”
Well
then, how about using the money for some good cause? At one point, Howard does donate “1,000 pounds to support a starving artist”
and later he suggests contributing to such causes as “Guide Dogs and Starving Chinese Children and things like that.” But his donation to Redvers Glass (Adam Urey),
a presumed “starving artist,” doesn’t go well at all: for starters, the journalist
who Howard authorizes to make the donation on his behalf skims 100 pounds off
the top; then Red, himself, turns out to be something of a charlatan; and
finally, apparently finding that 900 pounds isn’t really such a big deal, Red turns
his attention to the seduction of Howard’s wife instead. And as for the “Guide Dogs and Starving
Chinese Children,” those ideas never even get off the ground.
But
if buying stuff and donating to good causes don’t make the Shirleys any
happier, what might? Howard’s answer:
travel and experiences. Or, as he puts
it: “The time for buying things of a permanent
nature is all finished….The money is to be spent on living and not to be saved
at all or converted into ornaments or furnishings or things of that nature.” And
so Howard arranges for them to travel – to New York, Cleveland, Detroit,
Chicago, Salt Lake City, Los Angeles and San Francisco. But when they’ve been there and back, they
find that they’re no happier than before (in fact, maybe even less so). And Janet concludes: “I suppose the only real reason for traveling is to learn that all
people are the same.”
Eve
Burley is terrific as Janet, clinging to the world she knows and understands
and comfortable in the subordinate marital role she has chosen to accept in a pre-feminist
time, but realizing that a line must be drawn short of her total sacrifice to
her husband’s insanity. Oliver Devoti is
as tightly wound up as a cyborg in his role as the rapidly disintegrating
Howard. And Adam Urey contributes just
the comic relief that the play requires in his dual roles as Red and as Laddie
O’Neill, the talk show host.
Anthony
Burgess being Anthony Burgess, of course, One
Hand Clapping is meant to be a direct attack on America’s capitalist free
enterprise system and its leading to – horror or horrors! – consumerism run amok
and the danger that Great Britain might follow the US down that sordid path to
hell. But it is even more than that: it
is an existential and nihilistic tirade against life itself, questioning the
very morality of bringing new lives into a world threatened by nuclear weapons
or the ethical calculus involved in measuring the value of lives lost against
those newly created. And as such,
despite the stellar performances of the entire cast, the play itself really was
not my cup of tea.
Hello Alan!
ReplyDeleteWe're a theater in the East Village, and would like to get in touch with you for when our theater season starts.
Please email me your details to victoria@iatitheater.org
Thanks!