'All That Fall' is currently enjoying a short run in London's Arts Theatre in the heart of Theatreland. It previously debuted to critical acclaim; another slight of hand of the respected Trevor Nunn.
Although Samuel Beckett's tale of a couple in advanced years, forces to reflect on past pain, and pastiche of Irish rural life circa 1950's is a worthy and gripping one. So too is the story that eventually saw it on stage over 60 years after its first outing on radio.
It is bragged in the production programme that not even Ingrid Bergman or Laurence Olivier could convince the Beckett estate to licence it - such was their determination to retain its nascent purpose, as a radio play. Nunn admits himself that he received several rejections. When Beckett holds such currency, to retain such maintenance of its form and refusal to dilute for anything or anyone is admirable.
The story is a reminder of the value in keeping true to oneself. The production that makes it to the boards is essentially that radio play. There are sound effects played in, minimal physical acting other than what may naturally occur in a recording studio and the actors hold scripts and annunciate with consideration for 1950's style stereo mics that hang from the 'ceiling'; always under the glow of a red 'on-air' light that illuminates at the start of the 75 minute performance.
There are no intervals or devices just strong vocal acting and intense facial expressions. But averting your eyes from the stage intensifies the language, punctuates further the humour and accentuates the ever-changing tone. Some things are best being what they always were. Although remaining true to it, the contamination of the stage does undermine it. The acting is amazing but like the revelation of the appearance of a once disparate radio voice, the visualization is somewhat disappointing.
