Under the spell
Proics Lilla (2009-04-25 20:14:02)
Toneelgroep Amsterdam, the national theatre company of the Netherlands performed Opening Night by Cassavetes at the National Theatre of Hungary. The play is the staged version of the film, which is already a bold move, not to mention that we find out only later that we cannot leave our seats for 2,5 hours. The experience was good and enjoyable, so much that even time became faster, unfortunately. The play also addressed the issue of time, then let us go on. (As it was not a conventional performance, the review does not follow the traditional patterns either.)
1. It has been said that the film was first, and that was better.
1.1. Who cares?
1.2. We like to see real people, because then the stake is higher, and the evening keeps the audience involved. This theatre provides a big picture, while they use theatre and film means as well, the latter not to show the concept but give us more. The actors are familiar with both sets of means – and we can see a fortunate mixture of a traditional stage and an intimate studio.
1.2.1. Self-identity thus unfolds before our eyes, in a subtle and critical approach.
2. Men who like women – I mean he is interested in them – speak, think and act like this (and in several other ways).
2.1. How many times can you hear: Do you know what you are talking about?
2.2. It is still exotic and rare in Hungary to see a performance about both the inner and outer aspects of women (just look in the mirror of time, and you will see a woman), instead of power or one in which men – without whom this performance could not have been realised – are only admirable supporting characters.
2.2.1. Sarah, the author played by Chris Nietvelt, is the free, thinking woman, not revolutionary but one interested in other people as well; she knows what friendship takes, even is she does not have one. She displays a nice story, in a boldly reserved way.
3. Actors and actresses do matter, and the director, the cameras, film and theatre count on them.
3.1. The piece is there if human beings are there – actors and actresses.
3.2. Amazing faces – we must be happy for the large screens – display amazing moments of sensuality, sensitivity, reason, wisdom, conscious, and self-control.
3.2.1. Elsie de Brauw, Jacob Dervig.
3.2.2.1. I do my best to be authentic.
3.3. The actor’s back that hurts when he bows offers a professional psychoanalysis.
4. Theatre is the increasingly refined art of slaps, kisses, and bows.
5. Everyone counts: it is not a slogan but a visible fact. Everyone is needed to mak the whole complete.
6. The story of the forest queen: once youth, that little girl still blinking in us, wants to beat us, so we have to kill her, so that we can live on without turning insane. (You can come up with mercilessly precise dramatic schemes of numerous mother-daughter relationships – perhaps no direct words are necessary here, as its is a written and unwritten rule: love your mother, love your daughter.)
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