You always wonder what you will get when you go into a play, concert, production, any event that you know minimal amount with the hope of coming out a winner.  With research, Deep Blue Sea seemed to be a introspective look at the role on relationships, that view to outsiders, and the conflicts that occur among all.

In watching the set, the vastness of the set showing multiple floors and the comings and goings, I felt the openness of the set showing the interior of the building helped reveal the isolation, sometimes “aloneness” felt by the female protagonist, Helen McCrory (who played Hester Collyer).

When the National Theatre does their intermission interviews, I found the reason behind the full set was to set the appearance of everyone on the building being able to “hear” or sense the life of Hester.  It would literally represent the “paper thin” walls that appeared, to allow that appearance when the tenants talked to Hester. I never thought of that at all, which was one of the many reasons I life the behind the scenes dialogue that occurs with productions at the Lunario, from the  different perspectives are at every corner.

Ever see Who’s Afraid of Virgina Woolf?  In 2001, as part of the Stratford Festival course at Slippery Rock University, under Dr. Permenter, we attended.  It was the first time I ever saw the production. I was shaken, truly.  I remember sitting beside Ms Ashley Brand, and reminiscent I was, of how horrific the stressful moments reminded me of some of the worst relationships I ever had in my own life.  It was that good.

The Deep Blue Sea reminded me of this as well.  The conflicts, missed connection in the relationships we see, the reminder that relationships are a very complex beast, the misunderstandings of others we think we understand, this production is truly a deep and personal account of all these themes.  The actors and actresses, all play a pivotal moment into the spyglass experience.  Peter Sullivan was the perfect Casablanca-like individual that seemed to carry a sense of grace and magic when he entered on and off the stage.

Certainly Post-War Britain is represented – and I think the most through Tom Burke’s role of Freddie.  Listed as the “bad-boy” character, it truly seems Burke is able to represent all the disenchanted, discontent attitudes that did find themselves in so many during this somewhat seemingly stagnant period.  Unsure of which direction to turn to, uncertain promises and paths to success, and so many more attitudes found themselves within the persona that Tom Burke would go on to play, and done brilliantly.

I do like back stories, appreciating the revival of this production, from Terrence Rattigan’s tragic backstory.  The issue of recognizing diverse beliefs does stem from this article, but that my friends is another blog post.  Overall the brief appearances from the other characters that served as friends and neighbors, all of these characters were powerful and deserve a second look over as well as a look at this newest revival Terrence Rattigan‘s production.  

The director of this production of Depp Blue Sea, Carrie Cracknell, Brilliant. This pre-show talk – https://www.nationaltheatre.org.uk/file/13421/view – WOW.  The talk with Ms Cracknell during this production shows how she can channel the power of women, their historical roles in various occupations, and the need for reform on behalf of women everywhere.  A resounding echo to our President elect for sure.  

There were so many resounding elements from this production that carry themselves off the stage.  True, sometimes there is power in not knowing in initially, and discovering as you go.  Such was the case in this Lunario production.  Between the Devil and the Deep Blue  Sea has never been more real thanks to this production.