A Bright Room Called Day

“A Bright Room Called Day” by Tony Kushner is a powerful commentary on the dangers of political extremism and the importance of speaking out against oppressive regimes. It is complex and challenging, but Director Marlowe Mitchell for LAC, along with Assistant Britt Harrison and Producer Enya Lucas, certainly made sure that this production was powerful, informative, and thought-provoking but still entertaining.

Historical fiction is a genre that has been gaining popularity recently. It allows for exploration of the past, transporting people to different times and places, giving us a glimpse into the lives of people who lived in a different era. The production team did an admirable job of merging past and present with both the setting and developing relatable, complex characters. The characters grappled with their complicity in the events that unfolded around them, with powerful performances so that we, the audience, were forced to confront our own role in society’s injustices.

LAC has no end of talented people working in effective teams, ensuring that different areas are identified and developed. These teams work well together.

Front of House Team Georgia Becker, Shirley Broadbent and LAC members made sure that there was a warm welcome for all. Historical programme notes helped to put things into context and aided those unfamiliar with this work to gain a deeper understanding of the production. Well done, Jonah Wild, for a well-designed, informative programme which was certainly appreciated by many.

It was good to see that Jewish & Historical Consultant Maya Delayahu and Intimacy Consultant and movement coordinator Sophie Clement were on hand to advise.

I’m sure that this isn’t an easy play to stage, but the intimate Carriageworks Theatre Studio seemed ideal with the creation of a space appropriately matching our idea of Agnes’ small apartment. The inset setting of another room at the side worked well.

Set in Berlin in the months between January 1 1932, and November 12 1933, A Bright Room Called Day focuses on a group of friends in Berlin during the time the Nazi Party secured its power in Germany. The friends, made up of leftists, artists and refugees, congregate in Agnes's apartment, seeking safety and security. Agnes, Paulinka, and Husz all work in the film industry, while Annabella makes her living as a graphic designer and Baz, openly homosexual, works at the Berlin Institute for Human Sexuality. Over the course of the play, they see their hopes for a socialist Germany collapse and their friendships tattered by their fears and denials over what is happening in their country. By the end of the play, Agnes, alone among her friends, refuses to flee the country, preferring to remain ensconced in her room, afraid of what is taking place in the outside world.

It was important that the “bright room” represented a place of safety and comfort; the window symbolised the characters’ desire for change and their struggle to achieve it. The use of projection helped here.

Stage manager Hannah Booth, Set and Props designer Mia Thomsen, and their team: Matthew Brady and James Flood. Charlotte Riley created a well-dressed and detailed, visually appealing set with a versatile acting space that looked like the residence of a woman who felt grounded and secure, in the midst of a life that is anything but.

Lighting designer operator Julian Saravia used a range of lighting effects to create mood and tensions at perfectly timed moments. Sound and Projections operators Jerry Dunne and Steve Fryatt delivered music and sound effects to enhance the emotional impact and heighten the tension of the play. The inclusion of Archival images and newsreel footage showing times and events was a great aid. I especially liked the text working like subtitles, helping to translate the German and Yiddish that was spoken during some scenes. All well-timed. Graphics Designer and Developer Aiman Salehuddin is a great asset.

Wardrobe team: Anna Turner, Zoe Humphreys, Zoe Freedman, Marie Kwater, Ananya Parikh, Jo Scott created an interesting array of women’s and men’s clothing appropriate for the era and the artistic nature of the character. Great attention to detail, including hairstyles and shoes. Makeup artist Caitlin Schippers added the finishing touch to each character's look.
Special Mentions.

There were intriguing characters and passionate performances.

Theo Devine convincingly played Roland.

Lauren Wellburn gave a haunting, moving performance as Agnes Eggling. Her portrayal was charming and emotionally centered.

Jack Pickup dominated as Vealtaine Husz, the former Trotskyite who lost an eye fighting for the revolution with a cynically loaded performance. Jay Lockwood as Gregor Bazwald, a gay man with passionate views about the role of sex in politics, delivered an extraordinarily moving performance, especially with his heartbreaking monologue.

Annabella Gotchling, a committed leftist who has contempt for her friends, was played by Vic Bingham, who gave a powerful performance.

Laura Marshall and Parul Hirani relished their roles, confidently playing Zillah Katz and Xillah.
 

Imogen O’Connor/Rosa Malek and Spike Marshall/Emil Traum did forceful work as the argumentative Communist Party functionaries. Emily Guy was every bit the vain actress Paulinka Erdnuss, shining as the rising star in the German film industry. The monologue where she sees the devil in the guise of a small black poodle was a dramatic highlight brilliantly done. Every movement screamed glamorous star.

The ghostly presence, mysterious and increasingly malevolent, Die Alte, was perfectly captured by Margaret Savage.

Jennifer Becker was truly menacing as Gottfried Swetts, a deadly version of the devil.
 

Congratulations to everyone at LAC.

A poignant production to be very proud of.

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