Photograph: Tristram Kenton The good news, for fans of genuine deserve-it A-list celebrities or more importantly simply good acting, is that Cate Blanchett is beyond terrific. Whimperingly, blisteringly terrific. The bad news is that you would have to do that, just to see this tour de force from Ms Blanchett: sit in front of it, for three hours. It is not a bad play.
|Published (Last):||25 September 2013|
|PDF File Size:||5.11 Mb|
|ePub File Size:||7.32 Mb|
|Price:||Free* [*Free Regsitration Required]|
To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions. Our guide is a lonely woman named Lotte who is a kind of contemporary Candide. The play is theoretically tantalizing, more interesting to contemplate than to experience and less adventurous than works by Mr.
Christopher Martin, the director, translator and designer of the C. Lotte is a sponge rather than a picaresque heroine. Persistently she sees the bright side of life even as those around her express their apathy. One might say that Lotte is out of touch with reality. With her face pressed against a window or her ear listening on an intercom, she remains an onlooker and an eavesdropper.
She chats with anyone who crosses her path, but she is never able to become involved in a relationship. From Saarbrucken to Essen, she reaches for human contact with friends, relatives and total strangers - she equates them all in her mind - and is greeted by a wall of blank stares.
Wherever she turns, she finds a wrong number or busy signal. People, including her estranged husband, are abstracted from her needs. They live in individual compartments, as symbolized by a man encased inside a tent in an unfurnished apartment.
The world according to Lotte - and, by extension, the world according to the playwright - is a kind of trailer camp. Every unit is self-contained and no one connects. Repeatedly we feel that something unseen, and unforeseen, is happening off stage behind closed doors and drawn curtains. The scenes that we do see are neither big nor small. They are ordinary and of varying dramatic interest. Delivering one of her several monologues, Lotte seems mundane. In other moments, her approach is so eccentric as to be amusing, as when she presses an entire keyboard of door buzzers looking for a school friend who may or may not recognize her existence.
In an abbreviated version of the play several years ago at the Phoenix Theater, the role of Lotte was enacted by Barbara Barrie, and recently it was played in London by Glenda Jackson. At the C. Her performance could not accurately be described as virtuoso. Helpful in a variety of smaller roles are such C. The C. For the current play, there is more stage space, an open playing field that is well suited to the wandering expansiveness of Mr.
Having seen it, one will want to talk about it. Presented by City Stage Company, Mr. Martin, artistic director; Dan J. Martin, managing director.
At East 13th Street.
Big and Small (Gross und Klein) - review
This version used a newly-commissioned English translation from by the British playwright Martin Crimp. Big and Small the allusion is first and foremost to Alice in Wonderland is an episodic play of a dozen scenes in which we follow Lotte Kotte Blanchett on a road trip, struggling to make sense of her life after separating from her husband. Lotte suffers from moments of inarticulation that Blanchett pulls off with stunning eloquence as she suddenly erupts into stammering, wordless speech or spasmodic, liberating dance steps. On the other hand it is true to say that Strauss does attempt to reflect the process which gave rise to the discontinuity in his dramatic inventions. His plays mark a phase of societal evolution where the dynamics of social intercourse have become almost entirely opaque and where conflict — the stuff of drama — can only be represented, figuratively, in terms of battles fought and lost many times before.
To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions. Our guide is a lonely woman named Lotte who is a kind of contemporary Candide. The play is theoretically tantalizing, more interesting to contemplate than to experience and less adventurous than works by Mr. Christopher Martin, the director, translator and designer of the C.