Jt'l’I'Ct/A’A'“. r, .w
f }.AIX 1 .a ,«rA ,'.
aw mt, ~ 'r "(r
.4, [,H, fr e' ,’ ' r ‘ .' tr "Ix-1' A‘ 1' «' ’ 'u.‘ ‘ I I
J)!” /‘ 14' h, 0
THE PAINT SHOW .00 Paint the town red. And yourself
MIL": V.’A'A' ‘f.‘:' '1?!’ '1’} on a iAr/irur't t'l a .'.";r‘,e [latter Joint/writ .'.’irl|" {t'l itllirll t,,'(t.'.’i‘:’I ir‘:i.'.‘:‘:’l [your letis'.” No7 Neither had I, untill went to 1th Paint r";/io'.‘.' A tru‘, Illi‘fléthil‘fl: [)I‘:’.‘: (if theatre. even the tnrm? reluctant audience rnernher wrll trnd it hard not to yorn in this (,Itiilitlilt, experience Hottorn line: if you're staurichl‘,’ opposed to participation then this is not the sho‘x.’ for you. And, it you're ‘.‘J()lltif?llll(_} ahout the name. the: USO the word paint tor a reason: there's lots of rt. But. heneath the layers of ernulsron and the thumping; h; ss, is there a point? i rankly it's hard to know. hecause as soon as you catch sight of rt. it disappears arianr in a technicolor tron/v. ((Iorrre Mills)
I/r’or.‘ket (I /)e/rr.'rrco Roxy Art House. 5:56
I? 10;). r/nti/ 2.") Aug. ll.(i()r)rn, 5‘6 5‘8,
BEDTIME FOR BASTARDS 0000 One night stands and new right plans
Australian writer Vanessa Badharn. already rnuch noted this fringe tor (Iamarr/la. follows some clever character ohservatron With astute political satire in this hrret douhle hrll. ln Morning on a liar/tr [)av. the dog; days ot an on—ott couple
she. ahout to niarr\ someone else. he. as ernotiortalh detached from the event as he could he. is examined. There are some tine one-liners in this piece. while its corrioanron has much the same. hut in a contrasting tone. Caprto/ reflects upon the horrific emotional hankruptct of American Neo- Conservatrsm. as two PR consultants work on shinning an Iraqi war atrocity into something positive for the media.
I/ A '
DEHEVO - ISLANDS IN THE STREAM oooo
Seavenue ii. :w-s'
[i‘f'iu’r '1‘:t:’}‘r "’
rum". .i'iil‘."4~
' PM; trr'aqr'ia‘.” " " itisr,n,srr:a‘ theat'r- rrrt'tt ar:, an,- it:’)‘f"’i£:'. lt‘rs ,A-ar‘s shcs. «'ea'w. marry.-rrrerrzoratestade
:r'rgi:it4r‘., the sea ru'rr-r‘t; Thrusril‘ 't. l r';rr‘ a rrzan affirfl'ti; the H'ili'l‘ ll a !. v. -/ a‘. the sea's wide. 2' Ti".- ""ritill't'f; ti.r"(; ; {twin and s.'.'r'nrnirzt_; t W the sea. the tone shifts trorr: '.'.rarrnth to eerreness. then hack to hurnour lit a restless [)lfi’Ltrfifith ot ;'narii-s this is r,r:rhai>s not .l..'t!«i- <,t the -':crnr>an,'r~ .rarj, highest standard. lvut I"; still an engrossing; and lllll'lt:l)f}t?|‘, \.'.'at<:nahle er=tertarnnient
Steve (Irarner;
I 5;? .‘Step/rerrs, .">:'~(--I (anti-5;; (inf/l (’5) Aug}. firrrer; ‘./(t/‘.', 5‘77 .“r'.”
We i‘li'r.
DESCENT 00
...into self-indulgence?
Writer oerto'rner ill/aheth Hess presents a production ‘.'./hi<‘h ts hoth tll(?i£tll£ltl£lil‘.’(f arid Internal rnonoloriuru
lhe '.'.'r:ter character heorns ‘.'.'rth a retlecticn on the hook which should have followed Bid,“ {3:}. a itlt'iii' hertorrned '.'.1tn distinction :r‘ the l 'it‘tte' ot Rift-at). But her manuscript 's reierited. and she neers T<1'.'.ii"t a hreakarxxn. A .;srt t ta coustr‘. the one rnernher of Mt" t‘.1v;‘:rtrt<:r‘itetfirnrl. s'te strI sees. leads 1., rnenmrres ct "rant-er and ahist- r: "a." tarnriu. Hess is energie‘. :* :n t‘ertcr't‘aY‘Ce. arm: 1’».-
:iC'ii“.
nice rrto'r‘rer‘ts, txt. fur».-
rs a" we'r‘er" at se.‘ lt‘.(itli;)(‘t‘.(7(3, Atria. the Intense explo'atg 7‘ .‘
THE SEAGULL Stein's sublime staging of Chekhov .0...
Fiona Shaw and Gillian Murphy: magnificent
Two things strike you about Peter Stein's magnificent production of Anton Chekhov‘s 1896 masterpiece. One is the realism. It‘s in the slow and steady pace that marks the lethargy and emptiness of this rural Russian household over a stately three-and-a-half hours. It's in the continual twittering of bird song and other sound effects offstage. And it‘s in the vast screen onto which Stein
projects photographs of actual scenery.
The other thing is the reverse: the theatricality of it all. Because ever present behind the furniture
and props are the bare theatre walls. reminding us all the time of the artifice.
This is a perfect summation of the play. which sits at the cusp between the old school of stagy 19th century theatre and the modern era that Chekhov and his director Stanislavsky were to usher in. What's more, the playwright reminds us about theatre throughout: in the flamboyant actor Arkadina (Fiona Shaw), in her tragic Hamlet-like son Treplev (Cillian Murphy) and in his unrequited love, the wannabe starlet Nina (Jodhi May). These, and others. are characters in search of a role to play. creatures of high ambition shot down like the dead seagull that casts a weighty metaphor across the
play and the production.
The acting across the whole ensemble is a sublime mix of understatement and melodrama, pinpointing the passions raging beneath the deathly civility of everyday life. You couldn't ask for a
better production. (Mark Fisher)
I A- v
\)I‘t ‘ (1(II" In..." A ‘ I l
THIN WALLS ... 1.; 'i ,_ .1. '- AA Nothing thin here , , t z. I
r . , . . .,. . .,, A A .
.- -- ' - TOUCHED BY « A? FIRE oo
Poetic emetic
“: ,A ‘ I
I. r , rr ' it) . I , l, 1,0. ,
TRICK BOXING 0...
Dancing. fisticuffs and puppets.
NEXT ISSUE OUT THURSDAY 21
Xv "‘zrr'!wtt,. i.4‘7’).i.'l
,‘i-rr'rz' tw- titrerzill,
tir ’ iv) A“ TH-‘x
.'.“'t'.‘ It (‘ili ‘1: ".{,"-‘r‘,l."l, titrtt'a, .il!
' ‘:'.‘7 "titlw ’,tr.ttti’..‘:t‘.
r‘ H A If on”) {,' r' H 1, /l(’1\1‘. 1A: 3.): E3“, '4
1;,t,‘iA’i-l‘I;"'t")(- ‘w-w‘g ,“irj ri;;,lii,r;r, Nit)?
.. A. in i [Lofzipr I ir
'7.’,' «(tn/lynx. )I‘:
A .A r, {1 ' t’rr: A”) A A VP,” 1‘ )H 'I t , .ji‘ .tr Letten'r’; young:
l'r( «‘r [I f), ;:97;1 1" 'E‘:
,' "’}I:".‘: ’,’A'. “A 'rv( I'rv fit! [)1 {f/Vl' ," A I t]; 0"}.0 IV A I‘III (ill/I/jfl‘lfi ‘r':',' "‘."}‘A' ,‘7 ’Ir{/.(‘: Liar/:7
. f, (lg/1.x: [fat/311114, [ff/H)!’
All/H, (I .A ’1, ’f/(INU AI/lj
".' 'r '1 W/{W‘
THE LIST FESTIVAL GUIDE 67