La Strada at Milton Keynes Theatre Review
La Strada
Milton Keynes Theatre
20-25 February 2017
www.atgtickets.com/miltonkeynes
Reviewed by Deborah Goodliffe
As ever Milton Keynes Theatre provided the perfect backdrop to this show based on the film script of the same title by Federico Fellini. With easy parking and a welcoming atmosphere, the theatre itself is perfect for an evening out.
Fellini himself offered “I am not a ‘therapeutic’ artist, my films don’t suggest solutions or methods, they don’t put forward ideologies.” Indeed, as I left the theatre my theatre partner and I already had different views on the characters and the story being told. Was Gelsomina – played by the enchanting Audrey Brisson – an angel or a siren? Why did Zampano scream on learning of her death?
The show opens coincidentally on an open stage. The set is ingenious in its simplicity with the telegraph poles offering themselves as simple stage extensions at times and as additional props at others. The movement was gentle yet erratic as the prologue opened with the company telling the audience that this is a story which happen a thousand years ago, a story which happened today, a story as old as time, a modern story… Indeed, this turned out to be a story which has been told and happening for as long as time up to the present day. A story of desperation, loneliness, companionship regardless of temperament, sacrifice and poverty. A story telling of the usefulness to be found in everyone if one is to look hard enough, of hidden talents and boundaries.
The costume and lighting takes us back to a post war peasant existence where a mother is willing to accept 10,000 lire in return for her simple young daughter. The travelling performer Zampano the strong man is shown returning the village where he informs Gelsomina’s mother that her eldest daughter has died. As the audience, we never fully understand what the relationship had been between the eldest daughter and Zampano. One of a number of anomalies regarding Zampano’s character. He is shown as a bully and abuser, a drunk who squanders what little money he earns on drink and prostitutes. As he recalls the death of her older sister, he tells Gelsomina that her sister simply did not make it through the winter, but that he buried her by the shore.
The sea in a recurring theme throughout the show and the idea of a burial near the sea shows a compassion otherwise not seen by this travelling performer who bullies and beats Gelsomina into her role as his assistant. Gelsomina herself appears a simple girl. Her age is difficult to establish because of her simple nature. Is she simply a peasant girl, unused to the ravages of the world outside her village? Is she of little intelligence but of kind heart, simply willing to obey the rules and go away as her mother asks her to? Mostly she appears simple in her intelligence, but knowledgeable and feisty when morals are questioned. I spent a good deal of time through the show worrying about this girl and what was to become of her. I expected violations as she entered bars and drank wine which she was not used to. I worried about her mental wellbeing as she slowly realised that the man she was travelling with was not at all good natured. I worried that the act of domestic abuse was being displayed on stage right in front of my eyes. I watched a simple peasant girl with an honest belief in her ability to predict the weather, turn into a slave, a performing monkey, before realising her situation, then accepting it before challenging her abuser. Her fondness for the The Fool was obvious though it is impossible to know whether she could have been fond of his simple nature as a fool rather than anything else. Certainly, his murder – or accidental killing by Zampano, was the catalyst for her eventual strength but ultimate demise.
Having realised his alcohol problems and that he was taking all of the money she had promised to send home (it is clear she never realised she would probably never see home again) she finally stood up to Zampano and asked for her share. On accidentally discovering a hidden talent on the trumpet even he could not deny her a fair share once she showed her abilities.
A special shout out goes to the whole company for the talented musicians on stage. It always amazes me to see accomplished musicians as part of the on-stage company. An amazing addition to this show. Bart Soroczynski was charming and irritating as Il Matto – The Fool. The character almost begged to be attacked after his constant goading of Zampano, though I myself wanted to goad the man! Yet Il Matto himself showed an arrogant character, selfish and foolish in his assertion that he will die young anyway. Soroczynski is a talented actor and circus skilled performer. His ability to ride a unicycle in the limited stage space whilst playing an accordion gave a circus spectacle which fully engaged and involved the audience!
Having not seen the film I cannot compare this show to anything. However, I didn’t feel the characters of Gelsomina and Zampano fully explored any kind of intimate emotional relationship. Gelsomina showed an innocent compassion as she covered Zampano with her blanket, an act noticed but disregarded by Zampano when he awoke. Was she a victim of domestic abuse, was she an innocent with a kind heart, had she simply given up on her own life and accepted her service to another? After the killing of The Fool, Zampano showed some kind of concern for Gelsomina. I can’t decide if my feeling reflect a loathing of domestic violence or if there was somehow a scene missing! It felt as if a scene had been missed. From loathsome abuser, to murderer, Zampano then whisked Gelsomina away to a mountain hideout. Was he simply covering his tracks and keeping a witness from telling her story? It is difficult to know which is where Fellini’s comments come into the fore. Different audiences will see a softening of Zampano, had he fallen for her, had her newly found talents impressed his ego so much that he admired her in a way he had never admired a woman before? I don’t know, as I feel there was a scene missing! I never saw the relationship develop so was shocked when – in the final scene – Zampano comes looking for Gelsomina. Having let her go into the snow on that cold mountain top, we are led years in the future to a village where he is looking for her. We are led to believe he has been looking for her for some time. Upon learning of her being known in the village for her trumpet playing, but having died years earlier, he is distraught and screams her name. This was my only let down. Other than feeling the loss of this character after spending the whole show worrying for her, I felt his response confusing and unexpected. I felt we had not been shown enough of his softer side to be able to react in this way.
That said however, the use of the poles as stage extension saw Gelsomina spotlighted as Zampano screamed. She sang an enchanting/haunting tune – (Brisson’s vocals are captivating) – and showed where her true talent had been throughout. But, this is where the characters can be explored further. The theme throughout was of the sea, from listening to the sea in the shells, to throwing the sand in the air and predicting the weather, Gelsomina was connected to her roots by the sea. Was she actually of siren quality? Had she enchanted Zampano? The audience is left to question this.
A thoroughly thought provoking show. Enthralling with spectacular talent in music, acting and song. 5 out of 5 for performance. Thank you to this company for a truly mesmerising evening.
Rating: 5/5 
Tickets cost from £15 to £33 (plus £2.85 transaction fee)
La Strada is at Milton Keynes Theatre until 25 February 2017. For more information or to book tickets click here or call the box office on 0844 8717652.
Milton Keynes Theatre, 500 Marlborough Gate, Milton Keynes, Bucks, MK9 3NZ
