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Latest items? Unedited? Fringe Report Uncut
The Orpheus Complex
Verdict: Collage of human struggle
London - The Pleasance - 10 Apr - 3 May 05
This adaptation of the myth of Orpheus portrays his descent to the Underworld by the use of mime, physical theatre and visual spectacle. It’s set in the midst of an absurd and imaginary, dysfunctional ‘family’ - under the care and spell of an eccentric alienist.
Orpheus’s leap into a personal hell appears as an X-ray of the mind - in which he is torn between beloved Eurydice (the radiant Carmen Amigo) and a fascination for the mysterious incarnation of Death (played by the play’s creator and director, Corinne Soum).
The set is simple - a creation of steps by the use of large wooden blocks leading to a door. Downstage there’s a table and six chairs, all draped in fine ivory linen.
Orpheus (Kentaro Suyama) sings the prologue in Japanese against the noise of crashing waves and seaside frolics. It’s atmospherically lit in steely-blue, and shrouded in smoke to create a timeless setting. This Song of Orpheus is a lamentation of passing through the narrow pathway of life and the shaking of one’s self in order to find it.
The song acts as an invitation to Death and the introduction of the family - an ensemble of weird and fantastical characters. They include three furies, magnificently enacted by Arianna D’Angio, Monica Giacomin and Valentina Temussi, dressed liked Victorian urchins). There’s an Unknown Soldier - Renata Hitomi Collaco, looking very much like Toad of Toad Hall; Persephone - a detached and unconvincing performance by Jane Douglas; Hades - a triumphant Oscar Valsecchi; Max - tall and charismatic Jorge Bettencourt.
Under the watching eye of Doctor Ahriman (Andre Guerreiro Lopes), the chorus of ghosts and spirits parade themselves through stylised dance sequences. Mime and movement interject. Music is by Shostakovich and Chopin. Scenes evolve surrounding the descent of Orpheus and revealing the secret love between him and Eurydice. Their wedding is shown; a last supper; the death of Eurydice.
Often these sequences are repeated to give an illusion of timelessness. But the most triumphant visual spectacle occurs when the whole set begins to swirl around the stage - providing the epic downfall into the underworld.
It looks, cleverly, as if each of the characters navigates the journey - each layer of block is moved by the family. Beneath a dark rock, Orpheus finds the hidden entrance to the kingdom, and meets the Gloomy King - Hades.
The Orpheus Complex is a challenging and visual feat which relies wholly on ensemble acting. The company relishes the physical and visual imagery.
The production’s downfall is the integration of the spoken word - often indecipherable against the backcloth of music and soundscape – taking its literary sources from such diverse and eclectic texts as The Gospel of Nicodemus, God Speaks and Everything and the Nothing by Meher Baba.
At times, this technique, unique to Decroux, becomes repetitive - and in doing so highlights its limitations rather than its possibilities. The pace feels laboured and needs relief - for actors and audience.
But the play represents a tortured, world of inner thought and emotion, through a visual collage of human struggle. It reveals the spiritual and human frailty in the complexity of an individual’s longing for love.
A clearer through-line narrative would better serve the epic nature of Orpheus and the Underworld. Typical to this style of ‘total theatre’, tonight the form often outweighs the content. Affections of the mind and the absurdity of life can inspire – it’s a real shame that, in this production, clarity is sacrificed for physical technique.
Cast Credits: (alpha order): Carmen Amigo - Eurydice. Arianna D’Angio - A Nostalgic Fury. Jorge Bettencourt - Max. Renata Hitomi Collaco - An Unknown Soldier. Jane Douglas - Persephone. Monica Giacomin - A Whirling Fury. Andre Guerreiro Lopes - Doctor Ahriman. Corinne Soum - Death. Kentaro Suyama - Orpheus. Valentina Temussi - A Mischievous Fury. Oscar Valsecchi - Hades.
Company Credits: Created and Directed by - Steven Wasson & Corinne Soum. Music – Vasks, Schnittke, Rautavarra, Shostakovich, Chopin. Text – Steven Wasson & The Theatre de l’Ange Fou. Voiceovers - Corinne Soum, Steven Wasson. Costumes – The Theatre de l’Ange Fou. Set Design and Construction – Oscar Valsecchi, Kentaro Suyama and The Theatre de l’Ange Fou. Video – Andre Guerreiro Lopes & Steven Wasson for Shadow Films Ltd. Lighting Design – Matthew Britten. Company - The Theatre de l’Ange Fou.
END
(c) Mike Miller 2005
reviewed Thursday 14 April 05 / The Pleasance
Note: The Theatre de l’Ange Fou celebrates its 20th anniversary with this production. The company was formed in Paris in 1985 by Steven Wasson and Corinne Soum – the last assistants of the ‘father of modern mime’ Etienne Decroux. The company has created around 20 original plays, devised pieces as well as adaptations. Awarded Fringe First (Edinburgh 04) for A Government Inspector (MM).
Fringe Report (c) Fringe Report 2002-2012
www.fringereport.com
