Philip K. Dick’s timeless recount brings back the future onto today’s stage in this new adaptation currently playing in London until mid-May. Guillermo Nazara shares his views on the show, to let us know if this brain-based narrative actually took its audience by storm.
“I have the right to hate”. Ah, if only the world could understand my job as beautifully as this character did. Relax, I’m not a hater. I just think some things don’t deserve to be loved. But enough about you. Now, let’s move on to the nerve centre of today’s review, dealing with a theme that literature envisioned back in the 50s, Hollywood predicted (with distressing accuracy) at the turn of the century, and now the stage verifies as the incipient reality we are manacled to.
Welcome to Minority Report, the theatrical adaptation of Philip K. Dick’s dystopian novella, bringing back the now-not-so-futuristic thrills of its neurotic adventure. Now set in the year 2050, the plot revolves around Julia Anderton, an acclaimed scientist and CEO of PreCrime, the infamous company in charge of reading people’s minds to prevent (and condemn them for) any potential offences.
A gripping premise that’s captured the imagination of both its contemporaries and every following generation, the show’s outline preserves the enticement of the original story, founded upon the philosophical questions concerning the advancements of robotics and technology in general and how those can clash with some of the most basic rights inherent to humanity. A still in vogue topic, perhaps now more than ever before due to the proximity of its fictional universe with today’s life, the piece manages to entertain and, occasionally, invite us to reflect on our liberties and how those can be (and already are) put at stake through a more connected yet controlled society. But sadly, it fails to channel them properly throughout what, in the end, feels like an underdeveloped and not too original narrative.
Penned by David Haig, the script still accomplishes some levels of excitement, but sacrifices, on the whole, all its possibilities of depth and surprise through a predictable and rather repetitive structure that struggles to make enough of an impression. With a rather long exposition that only pictures the setting, but gives too little background to its characters, the conflict is brought up in too an abrupt way – turning to quite a fast-moving account which, though endowed with high action, boasts almost no profundity and introspection as for the arc its personages (some of them, quite blurred) are supposed to go through.
In addition, the dialogue lacks sufficient subtlety, stating the work’s motifs in too blunt a manner – thus, not only preventing us from coming to our own conclusions as an audience, but also bonding with a narration that, all in all, features too many bumps as for its flow and, most unfortunately, an inability to give genuineness to its delivery. On the other hand, the performances feel slightly constrained, capable of carrying the storytelling, but showing some difficulties when it comes to the verity and complexity of their portrayals.
There are some redeeming traits to be applauded, nonetheless, as the production elements are quite superb. Designed by Jon Bausor, and with lighting by Jessica Hung Han Yun, the montage creates an extremely compelling ambience, exuding cinematic allure combined with well-resolved and highly dynamic theatrical resources. As a result, we’re regaled with a much transporting, impressive picture that, laudably enough, is able to maintain the interest in spite of the writing’s flaws.
Parting from a haunting premise and crafted with aesthetic awe, Minority Report galvanizes the allure of its source material through its visually mesmerising outcome, but stumbles up midway when taken us on what turns out to be a bit of shallow, unfulfilling ride. A stronger exploration of its roles, plus the inclusion of more scenes that give a steadier rhythm to its account (apart from polishing its lines) will be crucial to help the piece unravel all of its opportunities – many of which, remain still unopened. Unlike its imaginary enterprise, we can’t foresee how viewers will react. But surely we can guarantee such changes will give the play more chances of endurance.
All pictures credit to Marc Brenner.
Minority Report plays at London’s Lyric Hammersmith Theatre until 18 May. Tickets are available on the following link.