A visualization of the neurotic mind: Theatre Erindale’s avant-garde production
In an incredibly tightly packed 90 minutes, Theatre Erindale’s The Devised Project, a dramatization of Virginia Woolf’s The New Dress, is a frenetic, exhilarating, and robust experience—a true sensory feast.
What could better soothe during chaotic times than an even more chaotic play? Theatre Erindale’s dramatic adaptation is just that in its hectic yet riveting page-to-stage translation of Virginia Woolf’s The New Dress. The production presents a searing exploration of social and class stratification, the anxiety accompanying naked vulnerability in social spaces, and the disorienting effects of self-consciousness. Through an energetic and buoyant performance, the play delves into the internal psyche of the insecure and neurotic Mabel Waring as she attends an upscale party hosted by Clarissa Dalloway. The new, but perhaps old-fashioned, dress Mabel had tailored for the party is, in her mind, not quite up to par with other guests’ attire. Her insecurity about her social position clouds her perception of the evening, turning the party into an almost nightmarish event where judgment looms large. The remainder of the play unspools Mabel’s psychological turmoil as she struggles to navigate the evening.
A standout feature of this spectacularly literate play is its ambitious attempt at dramatizing a stream-of-consciousness narration. The production does so by having the entire cast function as an ensemble narrator of sorts. Narrative aspects of the story and internal thoughts are spoken in unison by the cast, all of whom remained on stage at all times. This choice masterfully delineates between spoken dialogue and internal monologue, allowing the audience to seamlessly differentiate between Mabel’s thoughts and interactions, which is particularly useful when everyone is dressed identically.
To that point, contrary to the de facto expectation of period dramas about posh folks, there were no 1920s costumes, or even accents and mannered performances. Instead, the cast is dressed in the same white-and-black uniform, an initially confounding choice that later proved ingenious. The idea that obsession over appearances is empty and foolish is truly emphasized here when visible distinctions in attire are eliminated. This ironic reversal amplifies Woolf’s critique of superficiality; Mabel is too concerned with others’ clothing, yet here, clothing is rendered irrelevant. The uniformity underscores the futility of her fixation, making the play’s commentary on social perception and self-image impeccably sharp.
The minimal set and sound design serve to accentuate the power of the cast’s performances. Classical pieces are interspersed sparingly in appropriate moments, but apart from that, the heft of the play’s sound came from the actors themselves. Similarly, there is not much going on in terms of theatrical scenery, apart from a couple of parlour chairs that remain in the periphery for most of the performance. Lighting, however, is used rather skilfully; abrupt shifts from warm yellow to stark white punctuate key moments, while occasional coloured lighting underscores emotional states.
Overall, this adaptation of The New Dress is a torrential, nerve-wracking, and ambitious endeavour. I would like to note that while the play’s bold artistic choices made for a compelling experience, familiarity with the original work may be advisable; the identical costuming and stream-of-consciousness styled dialogue can make the early scenes a bit more difficult to follow. Nevertheless, this polyphonic presentation of the inner and outer worlds was entertaining, lighthearted, and a perfectly fun experience for Woolf enthusiasts. Catch The Devised Project from now until March 8.
