Flaky temptress, beautiful socialite and tragic masochist: the titular character in “Lulu” is many things all at once.
Based on Nicholas Wright’s adaptation of the 1895 German tragedy, “Lulu” centers around an enigmatic young girl (played by actress Sara Barker) who has no qualms about marrying someone for rank and money. The first half of the play shines a light on her flighty nature, bouncing from one relationship to another with little reproach. In the second and much darker half, her misdeeds slowly become her own undoing, claiming the lives of those around her and leading others to dementia.
The production, performed by the Washington Shakespeare Company, is now playing at the Clark Street Playhouse in Virginia. The former warehouse building creates a gritty yet intimate atmosphere that’s befitting for the subject of the play.
In a stunning example of creative set design, the audience can choose to sit on three platforms that overlook different perspectives of the stage. There are certain nuances of the play that people in opposite sections are sure not to catch, such as the muted gestures of characters who, upon dying, slowly relegate themselves to a couch that’s aligned with the audience. It may seem counter-intuitive, but it really isn’t, as nothing detracts from the integral story.
Director Christopher Henley made a conscious effort to embody the spirit of the play in its central character, something that’s exemplified in Lulu to a T. She’s a mass of contradictions, unsympathetic to the men she uses and showing humanity to them only in spurts. Then, when it’s her turn to get what’s coming to her, she pleads innocence.
The story is as mercurial as the whims of the coquettish Lulu herself. It captures the heartbeat of the themes with its dark and fast-paced dialogue. In the opening scene, Lulu is married to a wealthy businessman, yet seduces a painter during a posing session. They end up having an innocent romp while Lulu constantly teases the desperate man for his chastity. Her husband then walks in on them, and things only get worse from there. Most of the play covers a string of jealousy-inspired, second-degree murders and the intense sexuality that drives them. There is not a single character who isn’t motivated by pleasure or some other carnal desire.
Lulu’s name is actually one of the many monikers she allows her “lovers” to call her in her shameless pursuit for acceptance into high society. Some call her Lulu, others call her Eve — but none of them really matter to her. For the better part of the play, she’s too obsessed with her own lust and greed to take control of what’s happening.
The original play by Wedekind came under heavy fire by critics for its brazen treatment of sexual taboo and violence, a line of thought that’s sure to be invoked when watching this play for the first time. There are edifying moments that speak to the status quo of society at large, punctuated by the death scenes as well as the incredibly brutal ending that will surely leave audiences shaken.
“Lulu” is simultaneously funny and shocking, commonplace and transgressive, sympathetic and misogynistic. While the themes may have clashed with the sensibilities of people in earlier times, the current generation is sure to get some food for thought or at least some visceral entertainment. It’s as exciting and extreme as a play about sex and violence can be.
You can reach this writer at thescene@theeagleonline.com.
