Fascinating subject, but where is the music?
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What’s it about?
Holy Fool explores the life of Russian composer Dmitri Shostakovich and his complex relationship with the Soviet regime, examining the compromises, contradictions and fear involved in creating art under political oppression. This world premiere production moves through different periods of Shostakovich’s life and the people around him, attempting to reveal both the man behind the music and the extraordinary circumstances in which he worked.
What we loved
There are some interesting ideas at the heart of Holy Fool, and the chance to learn about Shostakovich, his life, his music and the subject matter provides rich material for a play.
The talented cast of four work hard with what they are given, and there are moments when the production begins to find the dramatic intensity the story demands. This is particularly true in the second act, where the stakes feel clearer and the play develops a stronger dramatic edge.
There are also select moments when Benjamin O’Mahony as Shostakovich sits at the piano and briefly plays. These offer a tantalising glimpse of how effectively his music might have been integrated into the storytelling.
Anything we’d change
The biggest challenge of the play is the writing and structure. The play feels disjointed, with many scenes so short that a surprising amount of time is spent moving between them. Rather than allowing me to become immersed in a particular relationship, event or period of Shostakovich’s life, the production frequently moves on just as I feel there might be more to explore.
The pacing is similarly inconsistent. At times there are pauses that feel unnecessarily long, while elsewhere I wanted the play to slow down and dig more deeply into its subject. Some of the delivery also feels overly melodramatic, which can make moments feel artificially heightened rather than authentically emotional.
The frequent scene changes are accompanied by extensive use of voiceovers, often unidentified voices delivering wry or ‘humorous’ lines. Some are amusing, many are not, and they can feel random and do little to connect the fragmented scenes or help us better understand Shostakovich.
The sound design also feels a little erratic. Sound effects appear and then sometimes stop abruptly, when a more considered transition or fade might have helped maintain the atmosphere.
But perhaps the biggest missed opportunity is the music.
Given that Shostakovich’s music is so fundamental to his life and legacy, I was hoping — and expecting — to hear much more of it. Music dips in and out of the production, including those moments at the piano, but rarely feels fully integrated into either the storytelling or the emotional journey of the piece.
The director (Kate Fahy) and writers (Rosalind Adler and Lea Sellers) talk in the program about creating Holy Fool as an opportunity to get to know Shostakovich’s music. I wanted that opportunity too. Yet came away feeling I had barely heard his work, and certainly not within a context that helped me understand more about its composer. For a play about one of the 20th century’s most significant composers, that feels like a considerable omission.
The second act does find a stronger dramatic momentum, but even here the final section could be tighter. Having taken some time to build that intensity, the production loses some of it again as it approaches its conclusion.
Who would enjoy it?
Those who enjoy exploring new writing and intimate independent theatre.
Audiences coming to the production hoping that the play will introduce them to Shostakovich through his music may leave wanting considerably more.
Who created it?
Holy Fool is a new play co-written by Rosalind Adler and Lea Sellers and directed by Kate Fahy. The production is designed by William Fricker, with lighting by Oliver Fenwick and sound design by Julian Starr.
Verdict
Holy Fool takes on a fascinating figure and an extraordinary period of history, but the fragmented writing, uneven pacing and constant transitions make it difficult for the production to build the emotional and dramatic momentum its subject deserves.
There are stronger moments in the second act and a committed cast working hard to bring the story to life, but the greatest frustration is how little Shostakovich’s music is allowed to speak for him. I came wanting to understand both the man and his music better; ultimately, Holy Fool only gives us glimpses of each.