MABOU MINES
DOLLHOUSE / ORPHEUS X / BRENDON BURNS
Various venues, Edinburgh
August, 2007
*** / *** / *****
The star ratings I have given to this year's Edinburgh International
Festival theatre offerings do not always reflect the consistent
interest of the shows. Where his predecessor Brian McMaster sometimes
seemed to view épater les
bourgeois as an end in itself, new director Jonathan Mills'
selections have always contained an amount of thoughtfulness to be
respected and engaged with even when aesthetically or artistically they
may not have pushed a particular spectator's buttons.
So it is for me with Lee Breuer's Mabou
Mines DollHouse and American Repertory Theatre's Orpheus X. The central idea of the
former is what Breuer has called "the politics of scale": the actresses
in this version of Ibsen's proto-feminist drama are all on the tall
side (and in one instance, augmented by stilts), whereas the men are
played by actors of restricted growth. We see Maude Mitchell's Nora
Helmer, required to conform to husband Torvald's restrictive
expectations, literally cramped on a stage set too small for her,
making concrete the metaphor of the title. She also uses a voice that
is by turns infantile and Betty Boop-cartoon-vamp, as if these were the
only dimensions allowed to her in such a marriage and society. Indeed,
all characters deliver their lines in ludicrous caricature-Scandinavian
accents to distance us from all the conflicting value systems in play.
All fine ideas, but once each aspect has been played out a few times,
the point has been made. Mark Povinelli executes some vaudeville
pratfall routines to puncture Torvald's self-importance; a couple of
strobe-lit silent-movie-style sequences emphasise the decision to go
for melodrama in what is usually seen as one of the first properly
modern dramas; but successive iterations provide momentary amusement
rather than developing the basic ideas.
What could probably have "bought" these indulgences is a shocking
change of key for the final scene in which Nora realises that she can
no longer continue in this stultifying life, and declares her intention
to leave Torvald. Instead of shock, though, Breuer gives us another
twist of artifice, as the duologue is delivered in cod-grand opera
arias with an array of marionette Torvalds and Noras re-enacting the
argument in an array of plush opera boxes upstage. Once again, plenty
to think about, but little to care about.
Such an arresting finale does take place in Rinde Eckert's Orpheus X. As well as writing both
text and music, Eckert plays Orpheus himself: an ageing rock star who
becomes obsessed by the so-so poet Eurydice whom he ran over and
killed. The climax comes when, just as Orpheus's harrowing music has
won him the right to bring her back from the underworld provided he
does not look at her en route, Eurydice herself rips off his blindfold,
asking, "Did you think I would welcome rescue?" Eckert's three-handed
rock opera (which at times sounds feelingly reminiscent of some of the
work of Peter Hammill) finds much more of interest in Eurydice's
relationship with her creative spirit and with Persephone, queen of the
dead. The programme notes reveal that Eurydice's final sacrifice is
also motivated by her recognition that Orpheus must return to the
mortal world with his gift still intact, but the piece's impact is far
stronger without this knowledge.
And a far better job than Breuer's of challenging audience
preconceptions and prejudices is done by Brendon Burns in his 2007
Fringe comedy show, So I Suppose
THIS Is Offensive Now. For years Burns has addressed his own
issues (with notable success) and everyone else's (rather more
quixotically) in a series of forthright, vigorously foul-mouthed
in-yer-face comedy sets. This year Burns, on the way up in terms of
sharpness, has met culture in general, on the way down, and the result
is cataclysmic. His show hinges on a climactic coup de théâtre which
is genuinely inspired, and provides the kind of smack in the face which
is immensely invigorating when delivered by a piece of theatre and
virtually unprecedented in recent stand-up comedy. Burns was the strong
favourite to win this year's principal if.comeddie award, and he richly
deserves the result announced on Saturday night.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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