555: Verlaine en Prison, Arcola Theatre

The story of Paul Verlaine, a troubled poet whose life swirled with genius, alcohol, and violence, is hardly an easy one to tell. But in 555: Verlaine en Prison, named after the number of days he spent in jail after shooting his lover Arthur Rimbaud, the team behind this new production aims to do just that through a blend of song recital, poetry, and theatre.

This is not a traditional opera. It’s more like a lyrical monodrama, anchored by the extraordinary countertenor Logan Lopez Gonzalez, who both conceived and performs the piece alongside pianist Stella Marie Lorenz and actor Anna Sideris. Gonzalez’s voice is the beating heart of the show: warm, agile, and captivating throughout, especially in the languid, delicate settings of Verlaine’s poetry by Debussy, Fauré and Hahn. He sings with remarkable emotional range, bringing tenderness and quiet devastation to each musical phrase.

The music is stunning, if slightly monochrome. Across 60 minutes, the tone remains consistently wistful and serene, beautiful, yes, but lacking dramatic contrast. Perhaps that’s why director Eleanor Burke added a narrative thread to flesh out Verlaine’s chaotic life, told through interjections by Sideris, who plays multiple roles, including Rimbaud and Verlaine’s wife. Her physical and vocal changes between characters are sometimes too subtle to follow, and her French pronunciation jars against the otherwise lyrical soundscape. Still, her narration adds important context, particularly in drawing attention to Verlaine’s abusive behaviour, no romantic gloss here.

Visually, the production is sparse. The performers wear matching black-and-white outfits, and the stage is dressed with little more than a chair. The lighting design by Cheng Keng offers the most striking imagery, especially when Verlaine, bathed in bars of shadow, reflects from within his prison cell. A moment of soft golden light, marking Verlaine’s late religious turn, is quietly moving.

Yet the show never quite comes together as a dramatic whole. The structure, jumping back and forth through time, feels more like an illustrated lecture than a theatrical journey. While the music is exquisite, the storytelling lacks clarity and pace. It’s hard not to feel that this might have worked better as a straight recital, without the weight of a narrative it only partially manages to tell.

Still, there’s no denying the artistry. For Gonzalez’s performance alone, 555 is worth hearing. As an introduction to French mélodie, it’s a fine showcase. As drama, it needs more depth and cohesion.

Photo credit: offies.london