22 July 2023 I 14:30 I @sohoplace, London
⭐⭐⭐
The story of Brokeback Mountain holds a mammoth legacy, a tale of forbidden love between ranch hands Jack Twist and Ennis Del Mar. Though alongside a legacy comes expectations, and personally, I feel as if this stage adaptation doesn't entirely fulfil the potentials it holds. Especially culturally, the representation of homosexuality here is a landmark in history. I imagine I am one of the few people in the auditorium who hadn't seen the 2005 film (based off Annie Proulx's short story), thus having no preconceptions before watching. I find the observations of homophobic acts internationally (detailed further in the programme) to be extremely powerful, using theatre as a vehicle to express these topical issues. Although for me, Jonathan Butterell's Brokeback Mountain is slightly hit and miss, with these themes in regards.
Unlike the majority of major West End shows, this play runs for a succinct 90 minutes through. For the most part, the performance is very concise, holding a clear vision to tell Proulx's story in a refreshing format. Unfortunately, the fleeting runtime doesn't allow enough time to really develop and invest social ideas and relationships. There are passing moments where graphic details of homophobic assault are discussed, where the show really shines in its voice for under threat communities. With a rapid pacing, I am left wondering whether this version is intended for fans of the film, so perhaps details may have been swept over. I wouldn't entirely suggest this shorter approach was ineffective, as it also gives the grounds for a 'whirlwind romance', as the taboo love heightens in risk. Before it can be noticed, lives are turned upside down.
Mike Faist is absolutely glorious as a bold and raring Jack Twist. His commitment to the role is inspiring, as he truly bares all emotionally (and physically!) in a convincing romance, maintaining a wicked cheekiness that allows audiences to connect on a light-hearted level. Starring opposite as Ennis Del Mar is the sternly captivating Lucas Hedges. The intriguing thing about Ennis' character is that he is quiet and reserved. And Hedges is tremendous at communicating such impassioned feeling through his expression and body language. Through Tommy Ross-Williams' intimacy direction and Kevin McCurdy's fight direction, every movement together has intense purpose, as heart and tension become the forefront of stage action. Emily Fairn is a pleasure to watch in her stage debut as the devastated Alma, the unfortunate victim of Jack and Ennis' affair. As an audience member, you feel sympathy for Alma, though her appearance is brief. It would have been an interesting perspective to see more into her story, beyond the one-note, surface level frustrations towards her husband Ennis.
The unique thing about @sohoplace's adaptation of Brokeback Mountain is the feature of an Older Ennis (played by Paul Hickey), who observes the action at the perimeters, embodying a symbol of grief and regret. The character remains onstage for the majority of the show, next to no dialogue, simply watching or facing away from the action. As a concept, I find this plausible, but it doesn't land for me. Jack and Ennis' relationship is best suited within a lustful atmosphere. With a constant presence, albeit unseen, Older Ennis disrupts their intimacy where privacy is most valued.
As a play itself, the script features quite a bit of silence, sometimes making the deliberately powerful silences lose their impact. Nonetheless, scenes are wonderfully woven together by a semi-onstage band, fronted by the soulful and wistfully commanding Balladeer, Eddi Reader. With orchestrations by Dan Gillespie Sells, the new soundtrack to Brokeback Mountain really revitalizes the story beyond the text. An American Western sound is immediately established, and musical choices are very clever (tempo etc) to reflect subtextual feelings. Particularly Ennis' reluctancy, music expresses these supressed responses. My only gripe with the band is that occasionally, music seems to be used purely as a transition with a blackout, where nothing else could be done. The score compliments scenes beautifully, though transitionally, it feels like an audience's distraction, more than anything, to mask clunky scene changes.
With @sohoplace being an in-the-round venue, this dynamic really benefits the play, as it sets a site for confrontation, often where actors can face opposite one another, aiding itself to this type of tension. Equally, as the stage is quite small, the proxemics are forced much closer, enhancing the passion amongst the two men, as audiences are thrust into the action. Due to the nature of this theatre, Christopher Shutt's sound design is so intricate to form natural atmosphere, with locational speakers to utilise the space most effectively, such as birds above our heads and babies crying into the wings. Additionally, Tom Pye's set design is well thought out, relatively simple but necessary for the desired fluidity in everchanging settings. The symbolism of the fire flaring onstage, mirroring passion and eternal love is certainly a goosebump worthy bonus!
While Brokeback Mountain's modern stage adaptation at @sohoplace doesn't make me absolutely fall in love with the production, it is undeniable that this tale of oppressed love is filled with desire and despair, communicated well amongst the team. The acted performances, use of space and music are the highlights of the evening, however creative choices regarding the method of storytelling could have been more united for its stylistic vision.
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