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Fringe 2008 Reviews (51)
Paperweight
Top of the World
Assembly Rooms
*****
Top of the World's Paperweight has been "devised"
by the two actors, Tom Frankland and Sebastien Lawson, and their director,
Jamie Wood. It's said that it's a fine line that divides genius and
insanity. The theatre has a history of drawing lots of lines. There
will be debate over where this group lands.
The new Scott Room, originally a storage closet, holds only 20. But
it's the perfect space for this piece. Even the heat works in their
favor. And, just before the door closes, you are warned that the play
contain foul language and nudity. What?!?
Anthony and Harold are two clerks working in a tiny resource office.
Anthony's knotted fist and catatonic, maniacal gaze tells all. He can't
seem to move unil Harold arrives with breezy confidence and authority.
These two could be your fellow employees. Many of us have survived the
likes; maybe not happily.
Anthony, two years into the job, picks up the phone messages and mail.
He's got the routine down. Harold does some odd bits of office work,
addressing some envelopes and sending out forms. Quite normal. But as
their day progresses, we see the effect that this incestuous environment
has on these two. Phones ring, balloons are blown up, Anthony's father
must be put into nursing care, Harold's condolence is a birthday card.
Still normal? When the ordinary is pushed to the limits, how does one
react and what toll does it take?
Paperweight exists in the shadow of Albee, Beckett and Pinter;
Larry, Curly and Moe. It's more than the sum of its parts. It's one
of those plays that people feel strongly about. Hate or love it, it's
brilliantly done. Not for the average theatre goer. It's not Mamma
Mia, it's not The Goodbye Girl.
It's been suggested that I have a weakness for the dark and edgy pieces.
This one supports that theory - so buyer beware. (Come along, lads.
We have a nice, quiet room for you three.)
Catherine Lamm
Phantomysteria
Teatr Novogo Fronta
Old College Quad
****
Eastern Europe traditionally has a more complex appreciation of the
clown than we seem to, and just as DO-Theatre’s Hangman
last year made use of its grotesque possibilities, Teatr Novogo Fronta
explore its absurd pathos in a post-apocalyptic landscape.
Staging their piece in the Old College gives the added dimension of
a grey gravel stage which looks eerily lunar under soft green and red
lights. On its floor unfold a number of images in motion sometimes
blasted at us with an ominous operatic score and swathes of fire, sometimes
tenderly evolving by small simple connection between two or more clowns.
A man emerges with his back on fire, followed swiftly by strobe and
gunfire that assault the senses. As a figure in torn suit staggers out
of the wreckage, two clowns, one witchlike in his deformity, the other
cute and bear-ish, mock him with physical cruelty.
A white-faced puppet becomes a lover, a rock star is pursued by an
obsessive photographer and two street performers in white crime scene
suits make cowering and pathetic attempts at acrobatic tableaux. The
action is presided over by figures in similar white radiation suits,
whose elastic white gas masks begin to look like clown noses after a
while.
Projections of round the world war images leave a closing impression
which is too literal and patronises its audience, not doing justice
to the bold and unsettling activities that have come before.
Lucy Ribchester
P45's in the Post
Blue Bud Stage Company
Sweet ECA
**
Two actresses perform a comic tale of friendship, job loss and a devotion
to Frida Kahlo. Tina and Candice's lives are not going to plan as they
try to sell their worthless modern art and find a job in the art world.
Meanwhile they find themselves going through various jobs, working in
an ideal home show, as children's entertainers and in call centres.
However, as Tina reassures her friend Candice, she's got 'her art, her
inspiration and her fantastic taste in shoes' to keep her going.
Whilst it is obvious that the two actresses had a great time making
this production it fails to have an equal impact on the audience. The
protracted use of film sequences and projection make us question why
this piece was not presented as a short film instead. When Candice says
she's been 'trying to pass this piece of crap of as art for 6 months',
the irony is not lost on the audience.
Cecily Boys
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