As a monologue Johnny Deep is an ambitious and multi-faceted piece. The visible figure of the character lies flat on his back in a deep sleep. Once seats are taken the character awakens to what is a fairly typical bedroom scene and looks out into what appears to be the image of his muse, his idol Johnny Depp.

So the conversation begins.

The play is an interesting exploration of a number of issues. Most obviously it centres around obsession: The character addresses every element of his life to an image that he looks up to on a supposed wall in front of him, like an altar to a god. But within this obsession he expresses the complexities of his expatriation, his hopes and disappointments in his new life, his conflicts with sexuality, class, identity and language. The dialogue reflects all of these aspects as the character repeats Johnny's name innumerable times within the first moments of the play and continues to return to this name as though it were a mantra or a prayer; something that he clings to to hold himself together as the rest of his life appears to drift away. The language, in step with the pace of this troubled personality, intelligently flits between soundbites and poetic freeflow speech, interspersed with references to the character’s mother-tongue. At times the accent is thick with Chilean strains and at others it reaches a comical nouveau-London twang.

As it progresses the character allows increasing glimpses into what and who he is and how his situation is reflected in his obsession.

The basic set is simple; with an image projected onto the background behind the actor to locate him. However, super-imposed onto this image is another semi-transparent screen in front of the actor that has further images projected onto it. Particularly enjoyable are the apparent rambling typings in the corner of the screen that appear on occassion like jumbled, thoughtless emails. Equally innovative is the use of the moving background image that moves in sync with the actor as he appears to walk through desolate London streets, or dance in a nightclub.

There are flashes of comedy intermingled with his turmoil and observations on art, drama and youth that provide a rest from the intensity of the darker parts of his monologue. Overall a complicated but provocative play that should leave plenty to digest during an intense 50 minutes.

Cast Credits: Diego Poupin

Company Credits: Writer - Alejandro Moreno Jashés. Audiovisual Director - Giuliano Cavalli. Art Director - Ignacio Acosta. Editor - Anita Romer. Lighting Design - David Alcorta. Sound Design - Bernardo Fernández Pedreira - Carolina Ocampo. Producer - Marjorie Murray Company - Collective Juanito.

END

(c) Natalie Pilato 2007

reviewed Wednesday, 31 October 2007 / Camden People’s Theatre

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com