‘Erik Satie’s Faction’ slightly misleads, since Alasdair McGowan is never less (nor more) than the man himself.
Known for ‘Gymnopedie’ and little else, Satie was both an eclectic composer and eccentric human being. Born in 1866, he lived through an age of many creative pioneers – Lautrec, Debussy and Poulenc among them, and long enough to count the young Jean Cocteau among his acquaintances.
McGowan’s performance and playing (he rarely strays far from a handy grand piano during his portrayal) are both pitch-perfect, to the point that one might say he inhabits his creation. However, although there are frequent references to other persons in his life, there is little here to suggest the controversies Satie stirred up, the depths of enmities and friendships he engendered, or, to be honest, the fervid atmosphere of late nineteenth century Parisian artistic circles. Where, in short, is the faction?
McGowan is certainly considerable compensation; his acting and playing abilities are clear from the outset and never waver. His Satie is a convincing figure in all his contradictions and contumaciousness, and we appreciate both how likeable and unlikeable the real-life Satie likely was.
Whether revelling in irony or pathetically begging off his brother Conrad, McGowan gives his subject the full nine yards and more. The production itself is as slick as McGowan’s delivery of it. Clearly designed as a touring vehicle, it hits all the right notes, ticks all the boxes and will undoubtedly do as well as it fully deserves to.
Yet the ‘faction’ of the title still nags. It’s neat, it’s witty, but it never quite delivers its implied promise. Satie undoubtedly spent much of his time in isolation, both figurative and literal. The current catch-all of ‘aspergic’ might be used to explain his more obsessive aspects, his inability to form a lasting relationship, even his quirky sense of irony, but he was nonetheless admired by some, and the survival of as much of his work as remains is largely due to them.
It’s these folk who are missing here – the ‘faction’ that found his music ground-breaking and completely original – and much as we enjoy and appreciate what McGowan has achieved and recognise such a tribute is long overdue, there still feels as if there is a certain absence on the stage, where Erik Satie’s faction ought to be.
Times: 3-28 August (not 9, 16, 23), 12.50pm
Tickets: £14-£16.50