Unfinished works have unlimited potential when being performed. With finished works, the tone and style of a piece is defined by the direction. But with plays like Georg Büchner’s Woyzeck, writers can fill in the gaps and further alter the meaning of a piece. To do this effectively, the writing and the direction must be strong so that the actors can make the material engaging. If this is not the case, there is little the actors can do to save the piece.

Leo Butler’s adaption of Woyzeck is a modernised retelling of the original story. Set in the Middle East, the eponymous English soldier and his wife Marie are struggling to get by. To earn some extra money, Woyzeck takes part in a medical experiment involving a diet of nothing but peas, which slowly drives him insane.

As a new adaption, Butler brings nothing new to the piece. Instead we are offered a half-baked commentary about social media and technology that vanishes before it can go anywhere. Accompanied by underwhelming jokes and shaky dialogue, this is obviously the production’s weakest link. Were Butler to revisit and revise the script, it could easily be salvaged: there is some potential in it. But in its current form it is nothing more than potential.

However, there are some real strengths to this particular production. The sheer size of the cast when they are all on stage creates some brilliant and chaotic scenes that couldn’t be achieved with a smaller cast. While some performances and ensemble scenes lacked polish, the street parties and club scenes were vivid, slick, and filled with detail that brought life into this world.

The most impressive element of the show was the set design. No expense was spared here, which meant the crumbling buildings perfectly set the atmosphere for the piece. The levels and versatility of the set was mesmerising and allowed almost seamless transitions from scene to scene. The bland colour palate of the main set made the vibrant colours of the club scene stand out even more and showed the masterful approach the design team took with this project.

With so much to like about the show, it is unfortunate that the script stops it from being a captivating experience. Butler clearly wanted to say something with his adaption, but in execution it’s unclear what he wants to say. Still, there are some good performances and fun to be had with this production, even if it means having to sit through the show’s weaker points.  ★★★☆☆   Jeremy  Ulster    26^th June 2018

Photo by Graeme Braidwood