Theatre
The total guide to total theatre
REVIVAL
THE SEAGULL
King's Theatre, 29 - 31 Aug, 7.30pm, and 1 Sep, 6.30pm.
ow, I’m not going to lay N some ‘universal appeal of
great art’ crap on you. I’m not sure that any art is universal, since there’s always a place, time, class or race where it doesn’t appeal, or mean something to an audience. All the same, there are works of art which, because they concentrate on emotions that are banal, commonplace to most of us, but nevertheless intense, have the capacity to appeal to most of us.
Very few writers have shown the
capacity to recreate ordinary
dilemmas and emotions in order to show us how extraordinary they are as Chekov. We resist understanding the emotions created by this text, because they’re so intense and ordinary, and in any society that enshrines individualism as much as our own it’s hard for us to realise that we feel what others feel. Tsarist Russia was much the same as our society, in its inculcation of individualism to folk of its theatre-going classes, so it’s no wonder that Stanislavsky, when he first directed this play late in the 19th century, was driven barmy by the fact that he felt it, but didn’t understand it. There was, of course, Method in his madness, so it became a theatrical legend.
And what about this commonplace emotion? Well, have you ever felt an intense attraction to someone who really couldn’t see you at all, since they were in turn, intensely attracted to someone else? ‘But what does she/he see in him/her?’ you ask. You’ve felt it, so have I, and it’s okay to metaphorically hold my hand across this bit of paper. This dilemma is faced by Konstantin, a much-derided (even by his mum) dramatist, whose great love Nina fancies the much more successful writer Trigorian. The fact that Trigorian is his mum’s lover doesn’t really help Konstantin’s case. The inevitable affair is tragic and ruinous to all concerned, but before that, it’s surprisingly funny. I suppose it tells us about one of only two genuinely universal rules: in affairs of the
Berkoff gets erotic
us here.
NEW PLAY THE SECRET LOVE LIFE
OF OPHELIA Assembly Rooms, 21—27Aug, 4pm.
Acclaimed writer director Steven Berkoff has long used film work to finance and facilitate his work in the theatre. Given that it probably takes him ten minutes to grapple with the particular villain he's playing (Nazis figure highly), Berkoff invariably has a great deal of time on his hands when he's working on location. As you'd expect. this time is never wasted and it was while working on a TV film called Attila The Hun that Berkoff was given the inspiration for his latest production The Secret Love Life Of Ophelia. Sometimes somebody guides yOu to look at something and then you go further' explains Berkoft. ‘One of the actors who was working on this dreadful film was a part-time editor for an erotic rewew. He was talking about how they solicrted ideas from writers to
Gull meets boy
heart, if you chase, they run, and if they chase, you run. The other universal rule is about privatised railways being unreliable and dangerous, but it needn’t trouble
This production by the Vienna Burgtheater is directed by that frequent visitor to the International Festival, Luc Bondy, whose visual style might bring us an extra dimension to the production, and includes Gert Voss as Trigorian among an international cast. The company are also bringing Alte Meister (old masters) to the festival (27 - 28 Aug), Thomas Bernhardt’s play about critics debating the nature of art, and the inheritance of a particular artist. I suspect the universality of art argument will be well aired there. (Steve Cramer)
make submissions of erotic material written in the parody of some great writer. He showed me an example of Walt Whitman. which of course is already fairly sensual. but taken further. So I thought I'd write Shakespeare writing erotically.‘
What began as an exercise to while away the time in the trailer developed into a discourse on love in the form of letters between Hamlet and Ophelia. Initially overtly sexual. the play develops into what Berkoft describes as 'an examination of passion and love that's destroyed by forces outside itself.‘
As to the circumstances that brought Berkoft's latest example of intensely Symbolic and stylised theatre. the veteran craftsmen argues that in this case the end most certainly justifies the means. 'Out of the mud will occasionally come the diamond' he says ‘and this is the diamond that was shat out of the mud of Attila The Hun.‘ (Catherine Bromley)
I Jesus Hopped The A Traln Tense and exhilarating drama from the US, directed by film actor Phillip Seymour Hoffman. Two men share a condemned cell, and amidst philosophical. spiritual and physical confrontation, seek forms of absolution. See review. Gilded Balloon at Teviot, until 27 Aug, 4.45pm
I Coriolanus Tough and physically strenuous version of Shakespeare's tragedy from Teatr Modjeska, featuring live music and punishing action. Even the Iighting’s a treat. but remember it’s mainly in Polish. See review. Old College Quad. until 27 Aug, 9.30pm.
I Falsettoland Moving musical from the National Student Theatre Company which touches upon issues of sexuality. subjectivity and selfhood. Pleasance Dome, until 27 Aug, 2. 20pm.
I Gagarln Way Gregory Burke's violent and very funny play about a botched kidnapping is still filling houses at the Traverse. Go radge for a ticket. Traverse Theatre, until 27 Aug, times vary.
I Wlplng My Mother’s Arse lain Heggie's first original piece in five years questions the nature of family relationships by examining the relationship between a mother, her uncaring son, and his old lover, who cares for her. A black comedy with a human touch. Traverse Theatre, until 27 Aug, times vary.
I Rlstorante Immortals Comedy set in a kitchen, with musical chefs and frightened waiters. Great mask theatre. and a generally fun show. See review. Assembly Rooms, until 27 Aug, 5.40pm.
I Novecento Stunning one-man show (pictured) set on an interwar ocean liner where a brilliant jazz pianist is born. lives and eventually dies. Royal Lyceum (E/F) until 28 Aug, 7. 30pm.
16-22 Aug 2001 THE LIST FESTIVAL GUIDE 51