Many hail Picasso (Peter Tate) as a genius, he never stopped re-inventing his style, invented collage, pioneered Cubism, created 1000s of paintings, sculptures, watercolours, engravings, sculptures and ceramics; his affairs are legendary.
His admirer Richardson wrote in one of his biographers of Picasso that he "could be ferocious but was also gentle, sweet and childlike… he was a paradox… An enigma.” He had a very full 92 years; what a subject for a play, and Picasso: Le Monstre Sacré does it with great panache and success.
Paint-bespattered sheet and a cushion on the floor, ladders and a semicircle of muslin as a backdrop with Tate filling the space in an exceptional reincarnation of Picasso. Extensive experience and numerous awards do not always guarantee a good actor, but never fear; Tate more than deserves any accolade he receives. Combining a whole range of emotions, wit, pathos, sensuality, humour, and what a mover!
One hears how a relationship with one’s mother can influence the rest of your life, as he takes you through the five most important relationships in his life from wife Olga Khokhlova to Francoise Gilot and his constant lover, painter Dora Maar; he allegedly said, "for me there are only two kinds of women: goddesses and doormats”.
This production commemorates the 50th anniversary of Pablo Picasso’s death. An uncompromising portrait of Pablo Picasso by Terry D'Alfonso. Tate and Olivier winner, director Guy Masterson, co-adapted Terry d’Afonso’s Picasso script into a solo show. Such a production restores one’s faith in theatre and I agree with the many comments I heard exiting the show: "marvellous, brilliant, enthralling".
No Edinburgh Fringe Festival is complete without seeing at least one Masterson production. For quality entertainment and experience, Picasso: Le Monstre Sacré is a great example of this, 70 minutes that fly by, a must-see.