The jokes began before rehearsals. “Waiting for Bill and Teda”; “The existentialist adventure of Bill and Ted”; “Party for Godo!” How could we not make cracks after Keanu Reeves and Alex Winter, that the most righteous duet from the 1989 Slader Classical film “Excellent Adventure of Bill and Ted” announced plans to withdraw in the revival of Samuel Beckete's Renaissance? The director would be a British buzzer of Jamie Lloyd, whose work sometimes lacks logical meaning, but never celebrities – he placed Tom Hiddleston on “betrayal” Nicole Sherzinger on the bloody “Sanset Boulevard”. Waiting flew up, but my own expectations regarding the “good” brother were low. Sounds fictitiousI grunted to myself.
But then I saw how fear, the sculptural set of this production at the Hudson Theater. In the text of 1954, Beckett provides that his tragicomedy – two capelinese tramps waited for the future employer (or the Savior?), Which does not arrive – should be installed in the open air. “Country -road. Tree. Evening, ”says the script, and Becket's licensed estate was strict in relation to those elements that appear, as described. Nevertheless, the long -standing co -author of Lloyd, the costume and picturesque designer Soutra Gilmour, fills the Hudzon Prospectus with a tunnel mouth with a tunnel twenty -four feet high, a round hole is that it looks like a strip of giant sewage built in a compulsory perspective. This majestic fuselage overshadows the actors who take refuge inside it, like mice in a storm sewer. Its plywood panels look at cold fire, like marble.
The set of Gilmura – at the same time, the gesture of fascist architecture, the channel and a scatological joke – causes production in several ways. Long exchanges between the gloomy stage (Reeves) and its more energetic companion, Vladimir (winter), take place with a pair marked in a boiler located on a sewer rim, which reduces the level of complexity for performers, whose last serious theatrical efforts were at least thirty years ago. Winter, whose tangible intelligence controls the show, is elegant both in mania and in thoughts, but Reeves is a completely uncomfortable presence, as awkward as a horse on the box office when he gets up. Here, the set becomes a comedic generator, a set of curved sides with which Reeves can rely and persuade without a bone. It is useful that you want to protect Big Galut. Audience AWWS Every time winter hugs it.
“Home” is usually not a show where you are going OUThe field is a purple vaudeville, a joke on the gallows for all mortals. (It’s boring to death by friends to hang themselves, because, at least, they will receive an erection. “)“ There is nothing to do, ”the shout is in the first line of the show, and even the existentialists by the drive will recognize the thesis of Beckett.
At the end of the first act, when it cannot arrive, the child-I saw Eric Williams, he will heal Vladimir that Godo would “not come this evening, but, of course, tomorrow”. Then the game develops in half, like a man with a stomach. (“Nothing happens, twice,” said the Irish critic Vivian Mercier, and since then every critic was doomed to repeat him.) The pompous landowner of the Obzzo (Brandon J. Dirden) and his lackeys, subjected to violence, varnishes (excellent Michael Patrick Thornton), collided with Vladimir and the stage on the road; During the same, but differently the second act, they galloping again, although OSCO does not have a memory of their previous meeting. The stage also forgot the day before. Only Vladimir is awake both to his loop reality and the idea that if it is more than something like the god of the Bible, he will play favorites. Vladimir hints that the couple OU The partnership, perhaps, do not survive another souvard of your day. “One of the thieves was saved,” he thinks, his mind on crucifixion. “This is a reasonable percentage.”
In the play of Beckett, Gasbag Pozzo, happy with a rope, and makes him carry his luggage until Lucky Coolpesses, but Lloyd refuses to use the required details – actors belong to bags that are not there; I didn’t beat the varnishes, so it’s lucky not to start. Lloyd deftly worked within the limitations of his specific Vladimir and stage, shadowing the dependent dynamics of the characters with Reeves and general sweetness and genuine friendship, but, in the case of Pozzo and Lucky, his directorial choice sabotes relations. (Lloyd Has Thornton Wear a Hannibal Lecter-Style Bite Mask, Making His Lucky More Menacing than His Supposedly Frightening Master.) That Despite All Thhat Despite All Thhat Sillliness, Dirden is the Finest Pozzo i've Ever Seen: A Hilarious, Scene-Staling Melodrama Villain with a Black Beard and Sunglasses, Drawling Boredy Accent, Standing on His Dung-Heap Dignity Like Foghorn Llekhorn. We know that meaningless power is the most terrible. This truck has no idea what is happening – in some way Dirden gives the feeling that his eyes are madly displaced around, even behind these dark glasses – but he absolutely knows that he is responsible.
I was impressed by the physical magnitude of the production and fascinated by the amazing warmth of the players, but I was not deeply touched by this “one”, until, strangely, I saw another show. A few days later I went to “well. Good night ”, the play of the German team Rimin Protocol, which took place only three days in September, in the center of Skirball Nyu. In the script “Everything is in order”, the writer Helgard Haug combines two cases of “ambiguous loss”: the still undisclosed secret of the Malaysia Airlines 370 flight, which disappeared over the Indian Ocean in 2014 and the gradual development of the dementia of Father Hauga. Family members lost on the plane were not sure when to grieve; She was not.
There are no scenes in the “everything is in order”, the name refers to the alleged signature provided by the MH370 pilot in its last known contact, the text is projected on Scrim, behind which the chamber group plays electro-classical work in two and a half hours. Sometimes the musicians stand in line, as if they were in registration (sound engineer, Peter Breetenbach, pipes at the rumble of Kuala-Lumpur airport); Sometimes they sit on a sandy beach, where predicted waves are washed off on a virtual strand.
