DIRECTOR Robert Wiene’s 1920 horror film The Cabinet of Dr Caligari is considered to be the masterpiece of German expressionist filmmaking. With sharp angles, crooked windows, twisted streets with leaning buildings, its unique visual pictures present the story from angles that are anything but the expected manner of the usual film and theatrical presentation of those to be seen in the early 1920s.

This same German expressionist style of unusually-angled mental and visual images was a feature of the much-missed Kneehigh company’s productions, particularly after Emma Rice’s 2002 production of The Red Shoes. This revival, the first for seven years, of her highly-acclaimed Tristan and Yseult, starts an extensive tour in Bath’s Theatre Royal, before heading off for venues in Wales, Scotland, England  and New York arriving back at Plymouth’s Theatre Royal from 4th to 7th March 2027.

One thing is certain, no matter how much, and in which way Emma Rice has tweaked the production, audiences in none of those and other tour venues are going to encounter a comfortable, cozy, light-hearted visit to the theatre. Just as Tom Stoppard indulged in verbal gymnastics , leaving audiences at times struggling to keep up with his violent quick-fire changes of direction, so does Emma Rice as she adapts this medieval legend, setting it ,with the aide of set and costume designer Bill Mitchell [refreshed by Vicki Mortimer] in modern times.

Not content with that violent change, Emma adds music, vocals, physical movement and knockabout comedy to this highly dramatic story of  Tristan (John Leader), who, after defeating the Irish invader Morholt (Tom Fox) sets out to bring his would-be bride Yseult (Nandi Bhebhe)  back to Cornwall to marry King Mark (Edward Rowe). Complications , which invariably must lead  to tragedy, occur when Tristan swallows a love potions and falls in love with Yseult, leading them to cheat on the King, whom they both love, and for Tristan to ignore the passionate advances of singer/narrator Whitehands (Stephanie Hockley).  Add into this mix Matthew Churcher’s Frocin, one minute a farcical comedy character, the next an Iago-like  villain, and Tom Fox re-appearing to excellent effect as Yseult’s selfless companion Brangian, and you have a convoluted mixture that only a theatrical genius like Emma Rice could unravel.

Not even her vice-like grip on the production as adaptor and director can guarantee  that all those characters are sharply enough etched to ensure full and easy accesses from audience members. And thereby is the inbred problem that surrounds, as it does a Tom Stoppard play or Matthew Bourne ballet – are you tuned in to the same wavelength as Emma Rice. If you are, this production can justifiably be described as a modern masterpiece. If you are not, you will probably head for the nearest bar during the interval.

This may not be comfy and cozy theatre, but it is theatre that is worth staying with, because within this fascinating mixture of sound, movement, comedy and drama, are truths which would enhance a modern world if applied to politics and personal relationships, selfless love and a desire to help others as much, if not more than oneself. You have to hang on to Emma Rice’s coat tales as she uses her vast theatrical imagination, shooting of without warning at right angle tangents, but if you can do so the reward is a mesmerising visit to the theatre.

GRP

Photographs Steve Tanner