Diary of a Mad Man

A new adaptation based on the short story by Nikolai Gogol. Performed by award-winning actor, Robert Bowman and directed by Olivier Award nominee Sinéad Rushe.

Poprishchin is a low ranking civil servant for the Government, struggling to make his mark on life, but one day he makes an amazing discovery. Could he really be the next King of Spain?

Driven insane by government bureaucracy and hierarchy, Gogol’s dark comedy exposes one man’s reality spiralling deeper into a surreal fantasy world.

…Bowman perfectly encapsulates the madness as we watch him unravel before our eyes and head deeper into a fantasy world – Western Mail

Tickets: £12/£10

Age 12+

Running time: 1 hour

 

I saw performed at the Chapter Arts Centre, Cardiff on 4 November 2017. There are no allocated seats which is incredibly rare in established venues but the audience seems so small there is no reason to do so. It also meant we probably got the best experience possible.

The performer, Robert Bowman, starts the play lying still on top of some pallets with a pile of books in one corner and a bare bulb hanging from above. When you enter the door he remains there until everyone is seated slowly turning the piece of paper in his hand.

He starts off speaking so suddenly at the beginning you don’t catch what he says but he is clearer a few minutes later. I’m not sure if that was intentional or not as the room was silent when he began. It did however add to the character’s dissonance and lasts at most the first line or two before he is far clearer as if to instinctively put you at edge as you delve into the mindset of Poprishchin via his increasingly frantic diary entries.

It’s an hour-long monologue where he usually remains on the crate pallets, as if they were the limits of the stage, but will, surpring you the first time it occurs, leavve this space and explore the space including often entering the audience. At certain sections sit in the audience (when performing the section where Poprishchin is going to the theatre one evening), rush at the front row of chairs (during the character’s breakdown) while carrying scissors and go sit in the back row of seats and during the final section after which Poprishchin is taken to the asylum (which he thinks is Spain) so Bowman alters the staging by upturning the pallets to create the walls of the asylum cell where Poprishchin is being kept.

I was sat in the second row with the seats in front of me left empty though people had sat at the far side of the front row. Bowman took advantage of this by sitting in the vacant seats for the ‘at the theatre’ part. He did a gradually more and more forced, over the top, laugh as if the character Poprishchin has to force himself to pretend to be similar to the ordinary theatre goers by overreacting to the unseen performance. Then pointing at myself and others, as we were in second row, telling us to stop overreacting and, during the later ‘I’m the new King of Spain’ section, crashing into the front row seating and invading the back rows while carrying scissors menacingly later prior to the final asylum scenes.

There was a mix of ages attending on the evening but ultimately about only about 12 people came to see the performance. I found that surprising. You would expect more especially with the high praise Bowman has had for this piece year after year having received rave reviews in Edinbrugh, but I guess not… The R17 events did try to promote it but I guess this style of theatre is hard to market in this day where people want spectacle or quantity over quality…

You are meant to start off laughing with Poprishchin only for it to gradually become clear how badly he’s affected with an increasingly warped perception of the world around him. I can’t say anyone laughed out loud but that wasn’t the point… this is the downfall of a man alienated from the society around him and has that dark sort of tragi-comic style of humour that Russia is renowned for and finds itself in many ways reflected in the Welsh sense of humour also.

Costume wise he wears a shabby striped dress shirt with a dirty t-shirt beneath, waistcoat and flat cap. During the later sections he removes his shirt and draws tally marks on himself with charcoal. Then a large number 8 on his chest when he thinks he is the new King of Spain. Towards the end he eventually composes, on stage, a cape from sheets of newspaper he straps together with masking tape when he dresses as the king of Spain. He does this all while ranting on stage. Quite impressive though I could see the tears in the paper. I wonder if it’s ever fallen apart of he has torn it too severely when putting it on. Well it’s all part of the spectacle leaving a great impact to see how far the character has fallen.

The stage is four pallets with alterations to hide certain items like the paper chain of dog’s correspondence letters or the paper he scrunched up as a hand puppet to represent the petty councillor confronting him at one point leading to a comedic scene of him conversing with a hand puppet as he mockingly recounts the event. In the final part he upturns the pallets to make the walls of the asylum cell. At one point, to represent the theatre, he opens up a book with a little pop-up theatre building, similar to a child’s pop-up book, then sat in the front row and began to laugh more and more hysterically which in-character showed how desperately out of step the character, yet desiring acceptance, even at this early stage when interacting with those around him (both as part of the play and when interacting with the audience).

A bare bulb hangs down and flares into a orangey pink light at times though there is also the lamp to one side and the stage lighting which intensifies starkly in later scenes creating long shadows across the space. He uses a bulldog clip to hang papers and such on the bare bulb wire in earlier scenes and tears them down later on. The sound and lighting play an important part in establishing the scenes especially in the hellscape like experience of the asylum. In the production’s minimalist staging it helps to enforce the sense of isolation and terror he fears during the story’s progress.

Review: Very intense. I really enjoyed it. I dislike ‘audience interaction’ stuff but this wasn’t reliant on it as Bowman would carry on and adapt as needed so it was more about him making clear how disconnected the character was from society so in fact it really worked incredibly well. We probably had the best experience of it possible as he could crash into the seats and be sat in front of us so there was always that slight barrier but interaction nonetheless. The usher was sat on the chair at the end of the front row, nearest the door, so maybe, if the show sold out, that’s the chair he would take?

Bowman has mastered this piece and you will find other actors failing to match the intensity and pitiable nature of the character in other versions after seeing this. He maintains the intensity of Poprishchin’s alienation throughout with turns between humour and tragedy effortlessly. We see the division between Poprishchin’s public and private identity begin to erode exposed through his developing obsession with numbers, amongst other signs, as his duality of nature declines. The insanity grows in degrees gradually over time replacing the somewhat idiosyncratic normality of earlier scenes with the desperate distress of the comi-tragic ending.

It’s the sort of thing you expect to play at Chapter as it is the experimental arts venue of Cardiff while the Sherman is for more established performers and artistic pieces, The Royal Welsh College of Music and Drama is music orientated, Wales Millennium Centre is for the ‘big ticket’ shows and the other venues in the city exist somewhere in between these extremes.

It’s the sort of thing you expect to be followed by a short after talk once it finishes really. But that’s it and off you go off into the bleak cold of night outside having seen an excellent performance that you’ll remember for years to come and compare other actors against.

It’s the sort of thing you should definitely go see at least once in your life time, whether you love theatre or not, as it is a brilliant experience. I would happily go see it again given the chance. Highly recommended.

It’s the sort of thing you should definitely go see!

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People Speaking Over Each Other During Conversation

What is the point in doing this in day to day interaction?

One side wants themselves to be heard over all else so we get the following varying results:

• One speaks over the other and one side stops – One side is dominant. It’s all about dominance and thus indicating your view is the superior one. Maybe not correct but attempting to assert a dominant air. Alpha and omega personalities in action. Dominant alpha male/female versus a submissive.
• Try to speak over each other simultaneously – Neither side hears what the other is saying and so there is just noise. Alpha personalities clash! Or if not leaders then people trying to rise in the pecking order of their group.
• Each stops to let the other speak – An awkward silence followed by each side attempting to reignite the rapport.
  Overly concerned about etiquette to a fault where communication falters. In that way you see in romantic comedies and comedies of manner often. Both submissive to a fault.

You are brought up to take turns in speaking but it seems more and more people are just talking at each other not with each other. It marks people out though I have never consciously taken note of when it happens. I tend to just let the other continue speaking but by that point they do not stop for breath and move from one topic to the next without pause thus leaving just a wall of sound emanating from them.

There is a time and place for such behaviour of course but more often than not if you are doing it then you are trying to assert dominance needlessly. Talking is a dialogue not a monologue. Leaders monologue when giving instructions and as everyone is encouraged to compete for a leading role in life and work it is seen as something that should be adopted at all times to excel.

But then of course I would say that. I’m typing a blog rather than talking over other people and becoming that sort of person. Blogging lets you express views that no one cares to hear. A rabid wolf howling at the moon it can never embrace.

Looking at the above video depending on whose voice you are focusing on you hear either Valjean’s oft repeated morality or if you focus on the designated antagonist Javert you hear the quasi-Freudian reason for why he is such a dogged adherent of the word, above the spirit, of the law. You only hear him declare this once in what is meant to be a scene two men shouting at each other showing his near loss of control. Neither, in the original novel, is ‘correct’ but both are equally ‘les miserables’ i.e. ‘the wretched’ as they are caught up in the shifting morality of society. Valjean is morally right but committed a crime and ran away while on parole. Javert upholds the word of the law while ignoring what is morally right in the circumstances such as the revolution. Both in their way fail to fulfil their true potential for fear of the consequences. Valjean wastes his life forever running from responsibility until he takes Cosette as his daughter. Javert shrouds himself in legal dogma to rise above his origins at least in the eyes of society. Neither lives for themself in the end. Neither hears what the other is saying and thus ignores the different point of view they are presented with by speaking over each other determined to assert that their way is the only true right way to exist in the world.

Everyone is a slave to their communities’ whims. We are all being shouted over and shouting over others in turn. In the end we are all wretched uncivilised beasts dressed in finery and speaking with veiled venom to each other.

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Ranty, ranty, rant.
It is easier to write things off the top of my head than prepare them. It is as they say ‘in an argument you will make the greatest speech you will ever regret’.

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