Quite a few openings in London this month: The Autumn season is here!

In September we had the opening of a new version of ‘Another Country’ at the Arts Theatre. ‘Kwaidan’ and ‘The Secret Fall of Constance Wilde’ at the Barbican; ‘The Kaos Renaissance’ at The Bloomsbury; ‘The Woman Who Swallowed A Pin’ at The Southwark Playhouse.

In the fringe we have ‘Shoot Me In The Heart’ at Gate, Notting Hill (see reviews). Also ‘Storeys’ at the Finborough, ‘Yzeegus’ as the Rose and Crown; ‘Headstorms’ at the Etcetera Theatre; ‘The British Festival Of Visual Theatre’ at the BAC, The Young Vic and beyond; ‘Play The Game’ at the Union Theatre; ‘The Barrats of Wimpole Street’ at Jermyn Street.

October presents us with ‘The Blue Room’ at The Haymarket Theatre Royal; ‘Mutiny’ at the Straw House; ‘She Stoops To Conquer’ at Jermyn Street and ‘Romeo And Juliet’ at the National Theatre.

Reviews:

Shoot Me In The Heart

From the original novel by Julio Llinas

Presented by Told By An Idiot, directed by Hayley Carmichael

The Gate Theatre until October 14th

A passionate story set in Argentina in the 1930’s, Told By An Idiot tell Julio Llinas’ ESO NO SE HABLO (which later became a film by Maria Bemburg) via its unique and physical style.

Set on Naomi Wilkinson’s robust metal veranda of red shuttered doors on an uncluttered floor gives the versatile cast space and scope for movement and great moments of visual theatre.

Set in a town in which the circus has been banned for decades, the story centres around a widow, Leonora, stately played by Lesley Vicarage; her daughter Carlotta (the very diminutive Lisa Hammond) and the tall and handsome Andrea (Vincenzo Nicoli). In this small Latin American town, with its quirky priest who is having an affair with a German visitor; its society women who look down on Leonora because of her dwarfish daughter and its shopkeeper who always insists on wrapping the things that his customers have bought (which always seems to be a single crutch), the cast commit themselves to the sometimes surreal action and movements with joy and gusto.

Applying vocal, physical, percussive, mime and symbolic techniques to a narrative, the cast conveys the story with very little dialogue. And the dialogue that is there gives the audience a hint of the snide and underhand society, living on double standards. Stephen Harper plays brilliantly the double role of the German visitor (including very funny ‘Das is gut!’ and a few ‘Oh ya!’ during the sex scenes, which is very reminiscent of German pornography - I’m told.) and the Lord Mayor, who is constantly jumping the queue at the brothel due to the fact he is in a wheelchair.

When the tall dark and handsome bachelor, Andrea, returns from years overseas, the townsfolk are all intrigued as to whom he will marry and the elegant Leonora announces that she will hold a party for the town at her villa. As a present, Andrea gives her daughter a horse and during a peck on the cheek (in which the action is suspended) Andrea discovers that he has passionate feelings for Carlotta and that Carlotta’s previously ignored womanhood and sexuality is awoken. Meanwhile the party continues and a friendship is struck between Leonora and Andrea.

Privately battling first with feelings of confusion, disgust then breaking free of the frown of society, he asks to see Leonora alone. Dressing herself up in a new hat a scarf, the now skittish Leonora agrees to pay Andrea a visit. In a scene that is heart-breaking  to watch, we see Andrea struggle to ask for her daughter’s hand in marriage. The town celebrates the marriage and returns to the normal cycle of brothels and quirky shopkeepers until the circus comes to town. In a most bizarre and hilarious transition of characters from townsfolk to circus folk the rest of the play builds to its final tragedy with as much vigour and passion. Not to be missed.

© 2000 Jamie Zubairi ALL RIGHTS RESERVED

Regrettably too few forays to the theater! However, happily I was able to see Valerie Weak as a kickbutt Nerissa in the Marin Shakespeare production of "Merchant of Venice."   First, though, we had to listen as this well meaning lady gave us an impassioned synopsis of a pre-performance discussion of the play by folks concerned over its obvious anti-Semitism--I was ready for the play. And not disappointed.  Another much more recent chestnut, "Crossing Delancey," was playing across town with a buddy of mine.  Character actors take notice: Barbara Van Dermeer, in the smaller role of the marriage broker, stole the show.  Next month I’m going to hit "The Collected Works of Billy the Kid," (adapted from Michael Ondaatje's first novel) at SF's legendary hole-in-the-wall, The Marsh. Depending on the number of freebies we score, we also might manage "Ragtime", "Enough about Me: an Unauthorized Autobiography," Varla Jean Merman's solo show about self-absorption, which apparently is also a musical. Even though Hotspur's dead in Part 1, Allen MacKelvey’s back in "Henry IV, Part 2."  It seems to have suffered from the loss of its original director Albert Takazauckas according to certain reviews, which seems like a cheap shot to me. And of course we have to see Valerie 's "Brain in a Box."

I'm going to run through some films we've seen but I’ve gotta say the best is long gone and now only on video.  Let's start with our only walkout of the year,  "Urbania". The words "softcore porn" keep popping up.  This experience was similar to watching Harvey Keitel's "Bad Lieutenant"--don't want to know these folks, better back out on the sidewalk. Much better we should check out some love flicks. We got "Alice and Martin", "Solomon and Gaenor" and Huey and Gwyneth ("Duets"), only they’re related. All three sweet, sometimes compelling. Good matinee stuff.  "Almost Famous” gets a lot of mileage out of Kate Hudson looking almost like Goldie Hawn--I am so glad she didn't give a laugh like her mother.  Being the owner of a purebred Maltese   (sire: Ch. Rijes Red Baron, "Best of Op. Sex," Bonanza Kennel Club, 1994) I got a particular kick out of "Best in Show", but Parker Posey is outclassed. Any admiration I might have for Sally Field is now qualified by the glimpse into her psyche demonstrated by her first directing job, "Beautiful," her "you like me speech" expanded to 2 hours. That seems awfully hard-nosed.  In fact, if she just took out the sappy music, I'd be there with her. "Nurse Betty"--way cool.  Now the best: Ang Lee's, "Ride with the Devil," with the ubiquitous what's his name Toby Maguire, ran for 2 weeks in SF at the beginning of the year.  I'm not going to say anything just rent it.

In our bit of the world we've got Robin Williams, Sharon Stone, Sean Penn and we have Peter Coyote.  In the Sunday, Sept. 17 SF Examiner he's written a feature entitled: "Don't Blame Hollywood for American Pathologies." I quote, "If (our) culture has pathologies...those who are gifted will express them on the nation's televisions, movie screens and radio airwaves.  Public media is the projection of inner life.  If you don't like the reflection, Senator Lieberman, strain the mud from the puddle.  Please don’t blame the moon."

© 2000 Claudine Jonesi ALL RIGHTS RESERVED