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The
Edinburgh Fringe
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Fringe 2004 Reviews (31)Celestina It seems likely that word will go around that director, Calixto Bieito is at it again. Celestina is uncompromising in its portrayal of sex on stage and that makes headlines. However, as the leading character says, the director is doing far less than the playwright had, over 500 years before. Bieito can be relied upon for exciting modern dress productions with lots of bright lights and noise. In this case, there is live music from a four piece band with Spanish roots. They are placed under a wonderful skylight that overlooks a massive bar. This forms the centrepiece of Alfons Flores' set, that also features numerous TV screens beaming out bullfights, symbolising battles between the sexes. Add in Mercé Paloma's colourful costumes and a bright evening is in store. Celestina is a Spanish dialogue classic that, in this incarnation, runs for just under two and a half hours without an interval. Its marvellous central character, played with joyous gusto by an androgynous Kathryn Hunter, is part Mother Courage, part Fagin. She really controls the action and pulls the strings of the satellites who are compelled to orbit around her. Her charges are unattractive prostitutes and inadequates. They attract her customers such as Neil McKinven's cynical Sempronio, Daniel Cerqueira's desperate and often funny Pármeno and the young love-lorn Calisto (Christopher Fox). She also has a nice line in the honourable profession of creating virgins using needle and thread. Eventually, with Mother Celestina's help and a little assistance from the Black Arts, most of these individuals receive satisfaction but it rarely makes them happy. The main plot line revolves around vain Calisto's love for the unresponsive Melibea, an excellent performance from Laura Rogers, especially as the play draws to a close. The final scene is unbearably poignant, as Melibea explains her plight to her well-to-do father, prior to a dramatic, tragic death. This scene is also needed to tidy up some confusions that have arisen amid all of the bustle. The translation by John Clifford is modern and feisty and, at its best, often poetic. He emphasises that while this version is much shorter than the original, he has remained faithful to the structure and sentiments of de Rojas. Calixto Bieito has brought classic Spanish works like Life is a Dream and Barbaric Comedies to Edinburgh, as well as Shakespeare. He is a unique talent and it would be a pity if the publicity focused on nothing but sex. Celestina may not quite have the vibrancy of this director's Macbeth but then few productions have. It provides a wonderful opportunity to see a Spanish classic featuring a memorable central figure. It is hard-edged but contains ribald comedy, great pathos and sheer fun. After Edinburgh, this co-production travels to the Birmingham Rep where it appears from 16-25 September and Theatre Royal, The Hague, 7 and 8 October. Philip Fisher The Dumb Waiter The idea of using comedians for straight acting has become popular in Edinburgh and has spilt over into the West End, where Lee Evans was a success in Beckett's Endgame. In this case, the two men waiting for Wilson rather than Godot, are played by Andy Smart, who appeared in Guy Masterson's Twelve Angry Men last year, and Steve Steen who does a neat line in Bill Bryson. The play develops nicely, as Pinter slowly reveals why these two Londoners are waiting and the nature of their work. Their personalities also leak out. First that of Smart's overly-talkative, subservient Gus and then the irritated, lazy Ben, a man who hates to be challenged. The choice of these two actors by director Paul Hodgson emphasises the dark humour of the play. To an extent this is at the expense of the Pinteresque threat, which is not something that Steen, a head shorter than his colleague, completely masters. The ending, perhaps inevitable for some time, builds nicely and leaves a satisfying sense of completion. This had seemed less than likely when the dumb waiter of the title was delivering orders to a non-existent kitchen. While not a complete success in this case, it seems likely that the idea of using comedians for Pinter and others will become increasingly common. Philip Fisher Swansong Conor McDermottroe will inevitably garner comparisons with his near-namesake, Conor McPherson. His hour-long monologue about the somewhat unlikely vicissitudes that pile onto Occi comes from the same school. McDermottroe is an excellent, really animated performer. He really gets into the part of the wild Occi, a man who can be all sweetness and light in looking after his mammy or feeding Agnes the swan. Unfortunately, Occi also has a switch in his head that is turned on when his parentage is questioned, even in all innocence. Then, McDermottroe begins to look like Obelix from the Asterix cartoons and heads will inevitably break. His life is a rollercoaster between reasonably valuable citizen, violent madman and institutionalised patient. This is very sad and in a strong performance: McDermottroe manages to make a man who becomes a murderer seem remarkably sympathetic. If you like Conor McPherson's monologues, then Swansong is well worth a visit. Philip Fisher |
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