Thinking of seeing "Writing to Vermeer"? Lash out $12 for the programme the night before, go home, and read the libretto. You'll enjoy the AV spectacle so much more...
Writing to Vermeer
Festival Theatre
8:00pm, Sat 4 Mar 2000
Score: 8
Short Review: Teeming
Let me guess - you've looked at the one-word review and thought, "Teeming? What's that all about, then?". Well, in bringing this production to Adelaide, co-directors Peter Greenaway and Saskia Boddeke have created a stunning piece of opera that's simply teeming with both aural and visual imagery.
As has been well documented in more knowledgeable tomes than this, "Writing to Vermeer" is based around a series of (fictitious) letters sent to the painter Johannes Vermeer from three women: his wife, his mother-in-law and his model. As Frits van der Waa writes in the programme, "Writing to Vermeer is an opera without drama... the narrative is kept to a bare minimum". Instead, we have an opera which is, for the most part, based upon minor events and domesticities, with just a little bit of Dutch history thrown in.
The most immediately appealling aspect of Vermeer is the visuals; Greenaway's touch is in abundance here. Several screens are lowered throughout the performance (both in the background and the fore), onto which pre-recorded video imagery is projected. This video footage is used to display Vermeer's works, imagery supporting the current scene's themes, or footage that would be impossible to produce onstage (the bloody killings of two brothers being a prime example). Projection was used extensively in the performance - images of flowing water projected onto the main stage produced a stunning effect.
As for the performers - well, they were great (gee, what an understatement). With the exception of the children who introduced most of the "letters", all singers were strong and precise. On-stage movements (I wouldn't really call it "choreography") were minimal, and created the feeling of modest domesticity. Louis Andriessen's music (which always had a menacing edge to it... or was that just me?) was superbly performed by the Adelaide Symphony Orchestra.
So, with all this raving, why only give it an 8? Well, to be frank, operas aren't really my thing, so my opera ears weren't tuned up... and with this work, I think you really need the dialogue. I mean, imagery can only go so far. Speaking of which, I think
there were a few little over-indulgences... I mean, we've all heard about the live cow - but it only had 30 seconds of stage time! Whilst there was video footage of a cow for several minutes!
So, whilst it was a wonderful spectacle, let me offer this advice - if you're thinking of going, go buy the programme the night before and read the libretto. That way, you'll be able to enjoy the spectacle without worrying about trying to pick up the plot. Otherwise, make sure those ears are in opera-mode and free of wax.
The first perfect score has come in - go and see "Hard Times" at The Foreign Legion (Cartoons) now. And stay for the rest of the shows there!
Hard Times
The Foreign Legion (Cartoons)
5:00pm, Sat 4 Mar 2000
Score: 10
Short Review: Magnificent!!
Another combined theater simple and Ghostlight production, "Hard Times" (adapted from Charles Dickens' novel by Ghostlight) proved to be truly exceptional theatre.
In typical theater simple style, the stage was stark but for performers and purely functional props (but why was Zoe Galvez reading "Moby Dick"? :) The performers themselves were superb without fault: Monique Kleinhans plays her 3 main roles (the regal Mrs Sparsit, the woefully drunken Maddy and the militant Slackbridge) perfectly; Amy Augustine is wonderful as James Harthouse (and the impish Sissy Jupe early on); and the love between Llysa Holland and Craig Neibaur (as Rachael and Stephen, respectively) is absolute.
One other point of note is the direction; Bill Peters (as well as directing "Hunting for Moby Dick") controlled the floor with unwavering accuracy. In fact, it's nigh-on impossible for me to fault this production in any way - everything about it is superb, from the labour songs that open each Act to Amy Augustine's haunting closing song. To paraphrase Louisa Gradgrind: The only feeling I have ever been certain of is sheer, unadulterated love for this production. Without a doubt, this will be one of the highlights of the Fringe/Festival.
Quixote
The Foreign Legion (Cartoons)
2:00pm, Sat 4 Mar 2000
Score: 7
Short Review: Surprising
This was a tricky review to write whilst remaining factual. Go see the show and you'll understand why :)
Don Quixote, the Knight of Mournful Countenance, exists as a form of therapy within the walls of a mental hospital. The doctors within the hospital use the text of the novel to cajole the patients to mental stability with a healthy dose of roleplaying.
To be honest, halfway throught this play I was expecting the worst (despite the fabulous windmill scene); the performances all seemed way over the top, with the exception of Mark Fullerton (perfect as a noble Quixote) and Jena Cane (as the fluttery Dr Stucco & a wonderfully lovelorn Dulcinea). However, without giving anything away, the latter half of the play was just brilliant.
In all, a thoroughly enjoyable bit of work. Congratulations must go to One World Theatre - yet another great Seattle theatre company! If you like your theatre funny, extravagant, and with a twist, this is the play for you.