RippedMan said: "Can someone speak to the production value?"
I thought the production values were wonderful – commensurate with it being a one woman show where the performance was the star and the set design providing a secondary yet very utilitarian and very evocative role. If economy of stage design bothers you, this might disappoint you.
Miriam Buether’s set is one of towering bookshelves (and I do mean towering) with 2 or 3 desks and traditional chairs and library lamps that might be found in English law firms. It provides the only backdrop for Comer’s retelling of events that occur not only in various offices in the firm, but, with Comer herself moving around the existing desks and chairs, but occur in her apartment living room, her bedroom and bathroom, a bar, a courtroom, the kitchen of her childhood home and a cab (and I believe also a police station with the addition of a video camera—my memory fails me but there was something a little different about the police station and can’t remember why). Sensational in its simplicity and ingenuity. I am sure there is a metaphor in having Comer doing all the set changes, rearranging the deck chairs if you will, but you asked about production values not, themes.
Without giving too much away, there is one “bell and whistle” to the otherwise economical stage design: there is an impressive, let’s just call it a water-based feature, thrown into the mix to great, powerful effect.
Lighting kept the proverbial spotlight on Comer amidst the dark and cavernous bookshelves that surround her and helped define a change in locale given that the same stage space stood in for various locales with only the rearrangement of office chairs and desks as described above.
Comer’s costume changes occur before our eyes and she slips in and out of various outfits while she seamlessly continues the narrative (in between moving furniture). It is crazy all the spinning plates Comer manages. The fact that she was doing this all herself was as impressive a production value in and of itself. Yes I know Mirren did it in “The Audience" but if I recall correctly, there the action stopped –but here Comer keeps advancing the story. I am sure this costume change technique has been used in other shows as well, but I have never seen it utilized to such dramatic effect and with it becoming so part of the narrative. I'm sure others will want to correct me- but you can save it. I'll self-chastise. Same with Comer moving the furniture - I am sure other shows have done it but for me not to this extent and effect. Again, save it!
There was a song at beginning and end performed by Self-Esteem (Rebecca Lucy Taylor) and a supporting band. I don’t know if a live band appeared at the beginning of the each of the live performances or just for the capture (I missed the interview at the beginning of the capture that could have explained this inclusion) but I could have done without it. Couldn't catch all the lyrics, but I am sure they were resonant- still could have done without it. There was also percussive music spread throughout (like a heartbeat) underscoring some particularly tense scenes, which I believe were also written by Self-Esteem but I could be wrong. That was effective.
So, for me, the production values were pitch perfect and captivating, but I suppose it would depend on what floats your boat design wise. You can catch glimpses of it in pics from the West End production. I could be mistaken about some of what I described above – so apologies in advance, but it was hard to keep your eyes on and make mental notes on anything but Comer's performance.
