Do you know what is real and what isn’t? Do you even know who you are? If you don’t even have the confidence to say you do, stop. Stop right there. Proceeding to read this review means that you are sure of your reality; Duncan Macmillan and 59 Productions’ adaptation of Paul Auster’s meta-detective novel City of Glass cannot confuse you.
The play itself is inspired by the graphic novel based on City of Glass and is directed by Leo Warner. Upon entering Lyric Hammersmith Theater, visitors enter a new world. At the main entrance there is a virtual reality station, City of Glass themed. The font on the signs look very hip which goes well with the graphic novel theme.
At the entrance of the Main House of Lyric Hammersmith Theater, ushers stand by a viewer’s discretion advised sign and remind the audience that the production contains: Gunshots, strong language, flashing lights, nudity and JAW DROPPING PROJECTIONS.
I gotta say, for a person who hasn’t read or seen any other productions of City of Glass, the stage excited me. It appears as if they ripped it straight out of a graphic novel. RRIIIIIPPP!
The production begins simply with the writer Quinn played by both Mark Edel-Hunt and Chris New, receiving a mysterious call. Although the person from the other line is looking for a detective named Paul Auster, who Quinn clearly is not, he thinks to himself what one of his characters would do in this situation. Apparently, that’s pretending he’s someone he’s not… or is he…
As soon as he embarks on this detective work, he begins to slowly go down the rabbit hole and brings the audience along with him. Illusions, nudity, and JAW DROPPING PROJECTIONS all combine to explore identity and reality.
Assisted by some JAW DROPPING PROJECTIONS, the director and the cast truly create a graphic novel scene: aging portraits, city buildings seen through the windows, shadows of people in the station, and in some scenes two actors portray one character all thrown together like a comic.
It was already a risky move trying to produce a material heavy novel and while I have some qualms about it, I’m glad to have witnessed such a production.
Right, JAW DROPPING PROJECTIONS…
Okay, yes they are indeed jaw dropping and necessary for the graphic novel vibe the production was going for. But the production relied on the projections too much. They basically crammed in as many projections as they can. I think they were used appropriately when transitioning between location/scenes and flashbacks or to spell out words. I don’t think they were used effectively when Quinn was making connections between his detective work or when Quinn was talking to Paul Auster, the writer who looks like him. In fact, I felt like in those moments it distracted the audience and prevented them from making connections or thinking about what is being presented. But… maybe that’s what they were going for?
Maybe they wanted to also make the audience question their perception of what an American accent is with Virginia’s (the lady who made the mysterious call in the beginning) and the other characters that actress Vivienne Acheampong played.
Who knows?!
I don’t!
Listen… If you want to unhinge yourself, this play is for you. Congrats. Maybe we can discuss the layers over coffee. I can’t promise to clear anything up, because I am probably just us perplexed as you are.
Click here for more information about Duncan MacMillan’s adaptation of Paul Auster’s City of Glass.
Still Bewildered,
~Edylwise ‘19
