Theatre
COOKING WITH PUCCINI
Sounds Belrssrmo
TERRE HAUTE BY
EDMUND WHITE Edmund White on Timothy McVeigh
" ,r ‘ 7‘ I. 'lv ,r-- l ' it if .T ill 'r 2' lrl l l~ l ' .1? l a l. l r." Vi}: ’r r l il'rl. .' f~ 4: t '.'r :r l' .i r ' r' r' , l' ' '.r ' ' z, r :z T- I r " : r": : i ., r, , r, if“ .. m, A; o, y ,W. ' l- " :i- " " 'l- .' :rll .'.'ll : -v :r r. t.’ ' :.~ :T'. ; ' l-' :lv .l l.:* ii!‘ i! " '.w' w h" {u ‘r-l.. :i-al '- ll 1 r" 'l~ .°. ." 1'2: H; T' :'§..~ T':-' l-‘:‘ T' 'Tl'rll ' fr 'i .' ,' Ii‘; r! 1 i r' I- t: ' l’ '2.-'lr" ',' 'l‘rl- : ".ll .‘r‘ " ’- :il..i, :l--l '~°."' "'. 1.}1, 'l .I I, IRWIN if " .. . . 1.. ~ . v w m '- FINER NOBLE GASES 5. ii ' ' ii IX: 7.1» l lr :1 [UH n' (it ' l, :' ~’. Have a 935 i. 'r. r. if :1" .r '2. '2 mm?" ;.r :‘wrrw tr», v m r'r- r r i‘ir'l .1 g .r: r..rr. '. r «l .r mart; irw rm: If there‘s one dark horse to look out for at the festival, it‘s the vi l~-r .:l r. 4;. .. 'r w r is :-:: .r‘r‘m rim: .rlrtl r. 21 m it 5;.» - thirtysomething dude that sat opposite me in a central Manhattan cafe a ‘r r ill w lr. v-r 1 la. 1' in. my , :r-v irriw rm, i'i.l.t' ~. lll'fllI r.-~.r. )l‘r‘n“. t' couple of weeks back. The idea that Rapp might be quietly tipped, rather at ,rw- .2" r r l in :‘l .I' ., t 2;. r! Mme. l rwlrrtr than loudly touted might surprise many in the New York arts scene, as he’s ‘ tr. M iv rr...r :. -v z.' : r. r u :I' in ll. I Ame *Hrlir‘. Hot/mu. .‘ ’. ’li "r a“; gained a good deal of acclaim and his fair share of awards over the last . 3.1‘ ..'I‘rir» ' r it ~r .- rt: .rr yr i:.rr~r fir/tr in“! 'J. ."l . xrrrrr, 9 Hr} '1 three years, but his European CV sees only one fairly low profile but well .r l .r:. r .r r, r- vrrr. «9‘ ll) 5 In received London production to his credit. l N! r 2 i ‘ It‘s surprising that we haven’t heard more, as the script of Rapp's fringe I fin .r' w t .41. 1w :. r, 'N PURSUIT OF GARDEN'O premiere, Finer Noble Gases should, given a decent production, take the ' ' r 5r. r r.’ -l (r :W art tho”? Fringe by storm. There’s a distant bloodline to Pinter in the piece, for this i i ,‘ l ' ,~ I ,r : .‘-.‘ « “' ‘ critic's money, in its rooting of unsettling and ultimately horrific existential .‘ crises in everyday colloquy, this time of American youth culture, as well as some rather Beckettian stage imagery, but again, more deliberately FOOD. quotidian in its realisation than Beckett's surrealism. All very well, I hear you Appet's'”9 Fausuan we say, but there's many a youthful hobbledehoy making awkward stabs at these master styles. Yet there's a very distinctive quality to Rapp's writing, 3 wt. , .r .n I r. r tr tr .r: theatrical authenticity that creates immediate effect. :w r t run. ‘ Al 12'": Em. In the play, we meet a couple of drugged up former band members who‘ve m If r . : lf'il" ti reached a debilitating stasis, glued almost literally to a weathered sofa 'i in" . :'~ 1. m: t’ a: ,1 before a TV screen, addled by drugs, and drained of life force in a flat at rr~ tr .1 .I. -i r 1' -. Lira littered with the detritus of a disposable culture gone horribly wrong. The It; rt 'i-- r r l .. ‘ M ii . r‘.’ .- t . trashing of the television by a third, violent flatmate leads to a catastrophic Mr- ~ 1' v " Iv' i r " . r: .m 3,1, _ scheme to burgle the downstairs neighbour, a man suffering from a Llll‘lt‘ffiu ul . ‘T.’ 1:: .l -. : .it-Itrr. r .rrr ' / different, but equally disturbing neurosis. That’s the first five minutes — it min: Llr r in. . r. -ul.rli:.rr‘.l " starts funny and ends deeply disturbing, all with live music played by the and f' »_- ' : 31' -‘.v -.*. is actors, who are a real life rock band. tutu -rr ni- <1: I~ 'r? .r : .t l m .tr.rr»' ‘These guys are on drugs and losing their minds, and about to step into T}:\?\\ u .- r t- v .r .1." '. ,r tgrurt Slidktassixzaru'u lost Jilli“ interminable freefall and they‘re recognisable to the audience - for an older t‘lrrrnti \r u' w: r .r: .r: 11* tr. tr r, . 1 my. rrrtrrtiirml Kerr Cgllliplnrll. 'l 1»; arm,- audience, these guys are their sons. People find that really hard to watch,’ Stil‘frt’i rrt " .r. r' at ' m r: .l’rkI then .1 got lost. Wherr- tlHl rl kill ' Rapp explains. Not surprising, really as there‘s something distinctly trrra riv fly r: r 7.. r » '._r; r . it li lr‘w‘ run other works? Wit, generational in the work, which should appeal to the crowd at the zestful r; l .m: m: r~ x it t'. it ' {Lilli-slit.) I lrr mitt who was. Bongo Club. Of his last Off Broadway hit, Red Light Winter he says: ‘We ll‘t'.ll‘::‘ um: I! «c : rs f‘ "r r" fiNJkiN'lmllL‘. We're qorriq [t/ till-7H3; .I had 30 walkouts and 50 young people on their feet cheering, which was mt k to lHLl'l'. ' Mi. ' ‘.' » r t :r. ' r'r ‘.'.llr'ti the play may hm..- exciting for me. People don’t want to see a character kick a television. It‘s mum-r»: .rx in. '~ a: ‘t ' ul lll’ti answer swim: qurmtrr .rrs like a sacrosanct object, people are obsessed with television, so they find :rrm ltuilllr‘lt‘Sm ‘rh-r'r .zrxr. \ ruin-,1 .: .2« fr «2 tr»: ' it really disturbing unless it‘s like silly or in a cartoon.’ Not for the Pop Idol :1t‘rri::.itrtirr mil: 'rr: u if f' "1%): fafz'l‘llliil‘t} Tlt’llll ."l{il\‘\.|‘stlll()llf) crowd, then. couple A? tour; txrtk t".l Mi? thump: {Ill organism: mat .mrr .rt lrrw I131 : . r,..:, r r, 1-: Am; r' r, "1 M ’1: ” ~’/r l7“ will t‘t‘l‘.l[kll‘.\_ “it‘l'iltlkl'l-tlf\ilt\I‘. «x: .t- : kiu‘llz'. .t I'-'\)l‘rllt)t“% TM in,- an .rrirusrrai -' tor filt’l strrkrirti \istm 'l..1\_l'."‘. t ».‘.rl»z-Il‘..:ir rtirrriz. .rri .)tItr It) tlit- blur) flx‘llit‘illllltlilldi lllrtllll offal-t .1‘~T\ zitrt a. INK/Lil Wlmt ‘.‘.'|[l ill‘.: «I w: IlHl m f w." ' 'I \.'.m', f' 2.1 ‘ " t 3 'rr: .r ; " -- ,’ g 1-“ 3' HM“. do .1 Sty-Wu 'th .'.l‘ '1 :‘sr'torrrmli -4 .w. 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66 THE LIST FESTIVAL MAGAZINE