I’d heard that this show at St. Ann’s Warehouse was a must-see from my friend who knows a lot about interesting theater in NY. Here’s the email from Susan Feldman, Artistic Director of St. Ann’s Warehouse.
Because of the overwhelming success of the National Theatre of Scotland’s Black Watch in its return engagement at St. Ann’s Warehouse, the play is now extended through December 21. The current run began October 9 and was to end November 30.
The performances at St. Ann’s Warehouse will conclude the show’s two-year tour of the world, in which it has earned extraordinary acclaim in cities including Edinburgh, Glasgow, and others in Scotland; London and Dublin; Sydney and Perth in Australia; New Zealand; Toronto; Los Angeles, Norfolk, VA; and New York, where, last fall, it completed a limited run at St. Ann’s Warehouse that sold out within days of opening.
Susan Feldman, Artistic Director, St. Ann’s Warehouse, shared her enthusiasm about the production and its extension, “We are honored that Black Watch will conclude its worldwide two-year tour in New York City at St. Ann’s Warehouse, and we are ecstatic that this return engagement for 20,000 people warrants an additional 3 weeks to accommodate 7,000 more. We wish Black Watch could run forever. It brings the war home to us civilians with empathy for the boys who fight and a searing eye view of what our politicians keep hidden. Clearly there is a hunger for this truth.
My husband and i made our first visit (a subway ride that took us an hour) to St. Ann’s Warehouse last night, Nov.1, especially
to see BLACKWATCH. This summer I came upon Brantley’s review in the NYT, and being from a family that loves to go to the theatre, thought this was a “must see.” And in some ways, it was. There was much to admire in the production, the energy and discipline of the performers, the heartfelt message and the obvious dedication and talent of the creative team. However, there was much to give one pause… for example, we were told repeatedly that if one leaves at any time during the performance, one cannot return to the show. That seems a bit contrived, as people sometimes have to use the restroom, or as doctors, have to answer an emergency call, etc. It seems that if one is worried about audience distractions interrupting the show, perhaps it is not the fault of the audience, but of the conception of the piece. Another issue was that we were packed so tightly into our seats there was no room for legs (at 5’1” that says a lot!), coats, etc. But the most egregious and seriously DANGEROUS issue was that the noise level of the recorded sound — explosions and music — was at such a high decibel level, as to possibly cause major hearing loss. It is so LOUD as to present a health hazzard, a situation that should be reported to the NYC Dept. of Health. Throughout the play there are explosions, and the disclaimers about them abound, but none say that the levels will be at the peak dangerous levels that they are. The music in the last moments of the show is outrageously ramped up as to cause pain in a way we have not experienced ever in the theatre before! One can make powerful statements on stage without having to force the audience to sit in their seats upon pain of banishment, or ramp up the media to the point of drowning out all interest and pleasure in what is being performed. BLACKWATCH could have been a demanding, but absorbing and affecting piece of theatre. As it was, we couldn’t wait for it to be over!! And we will not be back. Most times “complaints” of this nature are passed over and ignored — after all, who wants audience members dictating administrative or worse, artistic policies? But in this case, the issue of ramped up sound to the levels they are in this show is a significant health concern, or should be. One to be taken seriously and immediately addressed.