ONE of the chief pleasures of Paul Bright's Confessions of a Justified Sinner was the slowly dawning realisation that all was not as it seemed. As a reviewer, it seemed churlish to give away the game, but not to do so would have risked missing the point. (Spoiler alert: there are plans for an autumn 2014 tour, so you may wish to stop reading now.)
An Untitled Projects review.
IS it a fancy-dress party? An elaborate cabaret? A rerun of The Good Old Days? An esoteric piece of durational art? It's impossible to compartmentalise Stewart Laing's three-hour evening of immersive theatre – if you can call it theatre. Easier to say it is extraordinary, intellectually provocative and tremendously good fun.
YOU would imagine the extraordinary moment in this new play by Pamela Carter – a response to Marivaux's La Dispute – would be when the audience are moved from one theatre space, with its dowdy office set, to an adjacent space of Astroturf and stadium lights. Here we watch the results of an experiment in which four teenagers brought up in isolation meet and fall in love for the first time. But the scene is laboured and predictable – an arch series of encounters going from sexual awakening to infidelity, underscoring the idea that behaviour is pre-conditioned.
By Pamela Carter. An Untitled review.
THE low point comes when Arthur Rimbaud wipes his arse on a page torn from a copy of Madame Bovary and returns the soiled paper to the book. The high point - literally - is the audience, perched above a fully functioning bathroom in which Rimbaud and his poet lover, Paul Verlaine, play out an affair that goes from hedonistic naughtiness to erotic obsession and dissolute despair.
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