June 14, 2011
Brideshead Revisited was written by Evelyn Waugh in 1945 and was adapted for this stage production by Christina Drollas. It is an unhappy story of alcoholism, religion and disturbed family dynamics. It centres on Lord Sebastian Flyte; a charming, clearly intelligent yet flawed character who becomes the main friend of Charles Ryder (the narrator).
Ryder is initially shy and introverted; he is unsure of himself at Oxford and moves nervously and uneasily through his rooms. Flyte in contrast moves fluidly, languidly and confidently initially although becomes, through his alcoholism, in later scenes much more volatile. The personalities of the two main characters is also illustrated in their clothing with the more staid Ryder wearing a tweed jacket whilst Flyte wears a cream linen suit and scarf.
As the play progresses, Ryder begins to emulate Flyte, illustrated in the set - Flyte has a large deer skull complete with antlers in his rooms and Ryder then acquires a human skull for his, and in the clothing style, where Ryder becomes more flamboyant. The two actors playing Ryder and Flyte were both excellent and showed the disintegration of their friendships throughout the first Act.
The real tragedy of the story is that whilst Flyte seems to lead a charmed life: his home is Brideshead (a huge stately home) and his character seems all lightness, yeet he is plagued by religious oppression and alcoholism. His family are deeply Catholic yet flawed and this affects Flyte’s own understanding of religion, causing him unhappiness.
The character of Julia, Flyte’s sister, was especially well-portrayed; particularly in the scene where she feels conflicted between religion and love. I also thought that the play cleverly showed Cordelia becoming older between Act 1 and Act 2 through her costume and hair changing.
The play ends abruptly and leaves the audience with many questions and thoughts to consider; it would certainly inspire you to read the book if you have not done so already. This production is interesting and enjoyable, and I would recommend it.
Ryder is initially shy and introverted; he is unsure of himself at Oxford and moves nervously and uneasily through his rooms. Flyte in contrast moves fluidly, languidly and confidently initially although becomes, through his alcoholism, in later scenes much more volatile. The personalities of the two main characters is also illustrated in their clothing with the more staid Ryder wearing a tweed jacket whilst Flyte wears a cream linen suit and scarf.
As the play progresses, Ryder begins to emulate Flyte, illustrated in the set - Flyte has a large deer skull complete with antlers in his rooms and Ryder then acquires a human skull for his, and in the clothing style, where Ryder becomes more flamboyant. The two actors playing Ryder and Flyte were both excellent and showed the disintegration of their friendships throughout the first Act.
The real tragedy of the story is that whilst Flyte seems to lead a charmed life: his home is Brideshead (a huge stately home) and his character seems all lightness, yeet he is plagued by religious oppression and alcoholism. His family are deeply Catholic yet flawed and this affects Flyte’s own understanding of religion, causing him unhappiness.
The character of Julia, Flyte’s sister, was especially well-portrayed; particularly in the scene where she feels conflicted between religion and love. I also thought that the play cleverly showed Cordelia becoming older between Act 1 and Act 2 through her costume and hair changing.
The play ends abruptly and leaves the audience with many questions and thoughts to consider; it would certainly inspire you to read the book if you have not done so already. This production is interesting and enjoyable, and I would recommend it.