Transition #2

dat drum revolve doe

My love of scene transitions starts with one particular show, and one particular stage piece.

I grew up in London, so my introduction to theater came (in large part) through many visits to the Royal National Theatre. I deeply treasure the National. On any visit to London, I spend as much time there as I possible - mostly just relaxing in the lobby, a space where I feel oddly at home. Also seeing shows.

The Olivier is an impressive space in many respects, but perhaps most prized among its attributes is the drum revolve: a huge, two-part circular lift at the stage's center. The drum revolve can raise whole new sittings up from the ground, lower sets into its bowels and, of course, spin the action round and round.

I have a vivid memory of seeing His Dark Materials at the Olivier in 2003. I was 14. I don't know if this was the first time I had seen the drum revolve in action - probably not, and surely not for much of the audience. Yet when Lord Asriel's lush offices first rose up from below the stage, it was awe-inspiring. The crowd had no choice but to greet a set change with extended applause.

One thing I love about the drum revolve is that is not overused. That's likely due to cost concerns more than anything else - but it means that walking into the Olivier, you never know quite what you're in for. Will the stage just turn, as in Trevor Nunn's sumptuous revival of Oklahoma!? Will it lift to reveal an elaborate, frightening underwater sequence, as in Melly Still's Coram Boy? Maybe all of the above - as in Michael Longhurst's recent take on Amadeus, which used every one of that stage’s tricks.

The lift isn't needed in order for a show to dazzle. Also stuck in my memory is The Revenger's Tragedy, a 2008 revival (Melly Still again) which used just the revolve, to dizzying effect. In my memory the stage literally never stopped spinning, with one sordid scene of debauchery, rave and sadism whirling right into the next. The whole evening was basically one long scene transition. No wonder I liked it.

there she is. ugh. marry me. (photo: Brijesh Patel)

When that drum revolve starts turning, or begins to swallow up a set piece, or whichever - it just brings me a tingly sensation of comfort. Much like walking in those doors and lounging in that lobby, it's part of why the National experience makes me feel at home. 

On my most recent London visit, I saw Patrick Marber's revival of Exit the King in the Olivier. It was a big production in many ways, and a strong one (if flawed). Tragically, though, the set did not spin. Which was fine. I still felt at home. And I'll be back. Perhaps next time, that drum revolve will spring into action, memories of that awesome Dark Materials transition will come flooding back, and I’ll applaud in wonder.