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Tag Archives: Carlos Stafford
Zena Rommett–Floor–Barre Technique–For Teachers
Reviewed by Carlos Stafford, The Model Critic
City Center, NYC, recently hosted a teacher’s training program for the Zena Rommett Floor–Barre Technique. Teachers, and those wanting to be certified, came from many places on the globe to review their methods and to learn anew. The morning I attended, master teacher Charlotte Furst from Sweden gave a very clear and calm class to attentive students.
Zena Rommett Floor–Barre Technique has been with us for almost fifty years. A former ballerina, Ms. Rommett first taught her methods at the Joffrey School of American Ballet; the technique essentially gives ballet dancers barre training on the floor, thereby eliminating the intrusion of gravity and balance in developing neurological pathways in the body.
Ballet, and dance in general, requires certain physical necessities– alignment, turnout, and lengthening, for example. Tendu’s, coupe’s, passe’s, and degage’s with pointed or flexed feet can be slowly practiced on the floor to give the dancer the desired placement.
I sat and watched class with Camille Rommett, Zena’s gracious daughter who heads up the Foundation. Camille schooled me on some of the finer points as the class progressed, and told me that Zena always gave dancers what they needed, not what she knew. They never use the term “stretch” as I inadvertently spoke, but preferred the term, lengthening, as in the spine, back of the legs, and arms.
The devotee’s since the 1960’s have continued to be enthusiastic, and the technique has been a favorite of many past and present stars: Judith Jamison, Lars Lubovitch, Tommy Tune, and Patrick Swayze, to name a few luminaries. At present, Camille said this method is being taught worldwide, and on numerous colleges campuses and national dance studios. Next month they’ll offer another teacher’s training in Florence, Italy.
Basically, while working slowly on the floor, nothing is set to chance. At the barre, things may move quickly and the student may get used to working improperly, and develop bad habits; on the floor there is a lack of tension, and without music, the dancer, along with an aware teacher, can focus of his or her needs. Incidentally, this technique has been used as a rehabilitation method for those who have injuries too. It’s easy to see how effective this method would be for someone who has had a knee or ankle injury, for example, and wants to activate and strengthen those areas.
Camille also said that Zena emphasized transitions as well. Having been a ballerina, she well understood the necessity of linking movements together with proper alignment. Ms. Furst underscored this by coaxing the students to relax during their movements, not to struggle, and to become more fluid, with a strong center and relaxed face.
For those who don’t have studios nearby that offer these classes, many DVD’s are available for the young dancer, the professional, elders, and injured. I’m a convert, and consider this technique very valuable for dancers and non-dancers alike. Why would anybody not want the effects of a longer, stronger, and balanced body?
Reviewed by Carlos Stafford, The Model Critic
Three Steps To Heaven
In the Second Act of La Bayadere, in Hindu India, Solar reclines in sorrow, smokes his opium pipe, and dreams of his dead lover, Nikiya. As he falls into a dream vision–The Kingdom of Shades–harp strings lead us into his subconscious world. Then, the first of thirty-two shades, or spirits, appear as from the clouds; plie arabesque, cambre, port du bras repeated in timeless unison growing whiter and whiter as light suffuses and overcomes darkness. In a word, the dancers create an impression, mesmerizing and sublime, that is one of the most iconic exerpts in classical ballet.
In 1877, the genius of classical ballet choreography, Marius Petipa, first unveiled La Bayadere in Imperial Russia. It has been considered one of his finest achievements in an illustrious career that included the best of the best for this Frenchman: Le Corsaire, Sleeping Beauty, Nutcracker, Don Quixote, Cinderella, Raymonda, and of course, the great Swan Lake. All these works, and many others of his, fill dance theatres all over the world on any evening, and have become the ethos of ballet itself, today and perhaps forever.
La Bayadere is a narrative ballet about the love affair between Solar, a warrior, and Nikiya, a temple dancer (Bayadere) in exotic, ancient India. But their love is thwarted by the High Brahmin who also declares his love for Nikiya, but is rejected by her. The Radjah Dugumanta wants Solar to marry his daughter Gamzatti, but finds that he is already in love with Nikiya. Both he and the Brahmin collude to kill to Nikiya. Solar must marry Gamzatti.
La Bayadere then becomes a eternal story of love, jealousy, revenge, and eventually, cosmic reconciliation. It has sometimes been compared to Verdi’s opera Aida, especially the ending, the triangular love affair, an exotic locale, but these prove to be loose comparisons, and reflect the cultural developments and tastes of the era more than anything else.
David Hallberg, back from Russia, where he was made principal dancer at the Boshoi, a first ever for an American, brilliantly danced the role of Solar. Nikiya was flawlessly danced by Paolina Semionova from St. Petersberg–the place where the first La Bayadere was originally performed; so you could say the production was infused with a genuine Russian spirit. This, added the fact that this version was conceived of and directed by the great Natalia Makarova, made everything even more compelling.
Hallberg now appears to be a more mature artist; his acting ability and mime, noble and tastefully restrained, always promising more in his glowingly fluid movement. He seems to float when he is airborne, and always lands lightly, composed, and clear in his transitions. He seems to be made for classicism, as his abilities are textbook clear and delightfully executed. With so many stars retiring this year–Maxim Beloserkovsky, Angel Corella, and Ethan Stiefel– Hallberg will no doubt be a busy dancer.
Paolina Semionova was astonishing throughout, and was most effective in the famous “basket dance.” Solar is forced into marrying Gamzatti, the Radjah’s daughter, and Nikiya is ordered to dance at the betrothal celebration. To render this complex and pathetic moment, a dancer must live a multiplicity of emotions as she dances before her lost love: confusion, disbelief, sorrow, as she dances sensually before the gathering.
Semionova captures all the complexities with her arching back, expressive arms, and slow slides into the floor while the delicate Minkus score underscores the pathos. Ingrid Bergman, 20th century actress, could achieve this dramatic life on screen, and this was a moving likeness in dance.
During Nikiya’s dance, a basket of flowers is presented to her. Thinking it a gift from Solar, and a secret sign of fidelity, her mood brightens, and life is breathed into her movements, she has a reason to believe. But in her joy, she buries her head into the flowers, and a serpent strikes out and bites her in the neck. The conspirators succeed. An antidote is offered by the Bhramin, she refuses, as sees Solar and Gamzatti depart. She would rather die than live without Solar, and collapses.
Earlier in the week, Veronika Part and Marcello Gomes danced the leads to equal effectiveness. Part, long limbed, with beautiful arched feet and wonderful line danced with passion and precision. Gomes always a devoted and stellar partner added with his precise technique and powerful sensitive presence. Gamzatti was danced by Gillian Murphy–confident, strong, full of attack and perfect energy. Seo, as Gamzatti with Hallberg was more lyrical, airy, without the punch of Murphy, but again very expressive in her pas de duex, with beautiful quality.
Finally, at the wedding ceremony at the temple, with a great Buddha statue presiding, we have a show stopping dance–the Bronze Idol. Daniel Simkin on Tuesday, and Joseph Phillips on Saturday. Both had bravura performances and were electrifying in their stylized leaps.
The ceremony is solemn. Solar is going to the alter but sees images of Nikiya as a shade, and falls into remorse. Nikiya’s spirit, dressed is white, enters and departs, spinning and leaping through the proceedings, as the beautiful candle dance is created by sixteen bayaderes. As in a serenade, and music to match, they
surround the couple with crooked arms and flexed hands holding candles aloft. As Gamzatti lures Solar to the alter, a shade enters with a basket of flowers that was used to kill her rival, reminding Solar once again of the evil transgressions. As he approaches the alter, as if going to the guillotine, the rare contrast between beauty, sadness, and remorse is struck.
But nature, the gods, do not want this ending. As the Bhramin orders the couple to take their vows, the temple is destroyed, and in the apotheosis, Nikiya emerges from the destruction with a white coil of ribbon
that Solar catches as they eternally ascend together, united at last.
Praise all around: For Petipa, for Ludwig Minkus’ score, for Natalia Makarova’s staging, to the truly world class dancers, and even the maestro of both evenings–Charles Barker–who worked wonderfully with the dancers both evenings. La Bayadere is a study in Romantic Classicism, with many music and dance styles, groups of varying sizes, classic partnering, and exotic costumes and sets. We have Imperial Russia to thank for this exquisite artistic production–a nod to the accomplishments of Aristocracy–and to the astonishing talent of our 21st Century World.
A little bit more on David Hallberg (video)
Reviewed by Carlos Stafford, The Model Critic
The Ellison Ballet Spring Showcase 2012 had a rousing performance last Saturday night at the Manhattan Movement and Arts Center. In an evening of classical and contemporary ballet, the students delivered a pleasing amalgam of well-chosen pieces that showcased their remarkable abilities.
A sampling of romantic duets to music by Chopin opened the program–Waltz, Scherzo, Minute Waltz, and Nocturne –with nuanced and delicate partnering. Sara Ezzell–David Hochberg, Sarah Tryon–Jason Ambrose, and Lauren Archer-Louis Picuira-de Pimodan painted beautiful languorous and evocative shapes in Nocturne, while the men in their solos, and ensemble work were outstanding in the Finale–bold and confident. All appeared well-rehearsed and sharp in their intentions.
As the evening proceeded, there were a few brilliant performances. Ka’imi Cambern was technically exacting in the “Variations from Flower Festival at Genzano” executing the difficult Bournonville style with attack and elevation, and added haughtiness. We were also presented with “Variations from Don Quixote,” by Erez-Ben Zion Milatin, who matador straight, bold, and strong, danced with panache.
But perhaps the best pure dance performance of the evening was by Leonid Khrapunsky, in “If Only.”
Dance being one of the primal arts was certainly in evidence here. With contemporary choreography to percussion instruments only, Mr. Khrapunsky viscerally interpreted the beats with elemental and animal athleticism; with a quick tempo, and intense, expressionistic movement encompassing a lightly woven theme and variation, he electrified the audience thoroughly.
And there was more! Closing the program was a thoroughly engaging “Gypsy Dance from Don Quixote.”
Music by Minkus, choreography by Larisa Calero after Marius Petipa, and Gypsy Solo choreography by Kasyan Goleizovsky. This turned out to be the piece de resistance for the evening. What was good? Everything. Lauren Archer, the music, guitar solos, sexy costumes, big wild hair with flowers, all added up to a true mood of a gypsy camp; like swans, you can never have too many gypsies. Everyone likes the myth of the gypsies, and they are found everywhere from India, Romania, to Spain These were of a Russian variety.
Lauren Archer provocatively captured the Spanish passion and essence of her character, and danced with wild abandonment as she displayed a flexible, pliant, and expressive body. The choreography sizzled, and the corps of fellow gypsies were wild and beautiful, as gypsies should be.
After having seen the Ellison school perform a few seasons ago, I must say the men were stronger and better prepared than ever before. The women were also sharp and displayed a maturity that was evident, say in “Fan Dance from La Bayadere,” where they all appeared in harmonious unison in another Minkus score.
In a word, the energy, commitment and dedication all showed through, and one lucky graduate, David Hochberg was accepted into the Sarasota Ballet Company. Well done and congratulations!
A lovely reception followed, where dancers, former dancers, instructors, family members and balletomanes socialized after an exciting evening.
Ellison Dance in Rehearsal: I LOVE DANCE!
READ OTHER BALLET REVIEWS BY THE MODEL CRITIC
~Reviewed by Carlos Stafford, The Model Critic
Dropped by the Manhattan Movement and Arts Center in NYC last week to catch a shared program, WalkingTalking/ Catherine Miller; and the Ariel Rifka Dance, featuring the Joffrey Ballet School Performance Company.
In a casual atmosphere, without sets, and in a small but packed house, the three groups presented a combination of classical ballet and modern dance pieces that ran the gamut from Gerald Arpino’s 1986 commissioned dance, “Birthday Variations,” to Catherine Miller’s more modern offering,
All the dances were interesting for highlighting the young performers, and for showcasing the accomplished choreographers. By far though, the most polished offering was the World Premiere of “Barroco,” by Africa Guzman, a native of Madrid, who in a twenty year career, worked with such luminaries as Maya Plisetskaya, Nacho Duato, Jiri Kylian, William Forsythe, and Mats Ek. Here, we saw a dance that possessed strong choreographic imagination, surprising transitions, bright, clear shapes and line grounded in a compelling music composition. Mostly, it was exciting to watch the dancers blend with the evocative allegro tempi of Vivaldi, and then to the slower, romantic guitar solo. The movement was powerful, lyrical, and athletic, but more important graceful, and delivered with intensity and purpose. Lastly, the claret-colored costumes added to the good choices of this sophisticated piece.
Special mention to Nathaly Prieto, who danced all the dances in the first half, and once in “Unfurl,” by Catherine Miller, in the remainder of the program. Showing a wide range of talent and musicality in her busy evening, she was used to best advantage in “Barroco.”
The second part of the evening was mostly modern with some contemporary ballet elements. Ariel Grossman’s “Une Nuit,” a New York premiere, was very charming, with an easy grace which, as the piece developed became more hypnotic and compelling. With five girls in white tunics, combined with the surprise of lime green socks, shorts, and matching headbands, we imagine them having stepped off a Grecian urn to dance with pure joy and natural movement to sounds of perhaps a Balalayka, then calliope rhythms.
“Holly,” another small but very honest and personal piece, of hope and prayer, and of saying goodbye, to the beautiful “Four Concerned” ended the evening. Both these latter pieces had a freedom and beauty beyond technique that was very inspiring. Sometimes it is a deeper experience to view dance as pure expressive movement, beyond story, detailed construction, and self-consciousness; these dances achieved that feeling for me.
Still, there was a bit of nostalgia in the air too, for the glory days of the Joffrey Ballet Company when they once wonderfully graced the stage at City Center, before picking up stakes and moving to Chicago. It was good to see Gerald Arpino’s name in print, and to see a touch of his talent in “Birthday Variations.” It’s not a great dance, pretty simple, but still reminded those of his association with Robert Joffrey, and how they both electrified the dance world with their cutting edge company of youth, athleticism and new ideas–a real American original. Some of those “shades of forgotten ancestors” permeated this performance, and they are still missed here in New York. The new students honored that tradition, and will no doubt brighten other companies across America. Everybody, keep dancing!
Reviewed by Carlos Stafford, The Model Critic
Recently, Gelsey Kirkland’s Academy of Classical Ballet (GKA) energetically presented a truly pleasing showcase of both her young, dynamic students, as well as a debut for her newly minted, fledgling Academy.
What was pleasing?: Youth, strength, quickness, on the one hand, coupled with a ready enthusiasm and joy exuding from Kirkland’s well trained dancers–they came to deliver their best performances with surefire commitment, nothing held back. When this fortunate event occurred, the audience didn’t necessarily look for perfection of technique from the budding dancers, which by the way was very accomplished, but to the exchange of the infectious, energetic dynamics given so generously by the performers. And indeed, grounding this energy was a very evident clarity of acting ability that connected character and story, giving the varied program depth and delight.
The theme of the night was the “Art of the Ballerina–The Triumph of Feminity.” Kirkland and Michael Chernov tell us, to achieve this goal “we look to the archetype of the ballerina, who represents the ideas of purity, gentleness, sensitivity, empathy, and tolerance while demonstrating strength of body, heart and mind parallel to that of the bravest heroine.”
The program was well chosen–“Mostly Bournonville and Petipa”: “Pas de Huit” from a Folk Tale, “Excerpts from Le Conservatoire,” Napoli Pas de Six,” from Bournonville; “Neapolitan” and “Hungarian” from Swan Lake, “Drum Dance,” and the longer closing piece from La Bayadere, “Jewels,” “Blue Bird Pas de Duex,” and “Red Riding Hood and the Wolf” from Sleeping Beauty–all these from Petipa. And special mention to the wonderful “Pas de Quatre” by Perrot/Dolin, beautifully performed and costumed, as well as the final La Bayadere lead couple, pas de trois, and corps. La Vivadiere by Arthur St. Leon was also exciting and well received.
The mission statement at GKA is also well worth mentioning…“we believe the development of a ballerina is dependent on more than simply providing excellent instruction in technique; the dancer must also be nurtured in the light of inspiration and the waters of culture…to encourage a renaissance of dramatic storytelling in ballet.”
That GKA stresses storytelling is refreshingly evident, and so correct to my mind. So often at the bigger, important productions from abroad, as well as a trend in national companies, ballet, at times, has become showier, more gymnastical, with dancers performing bravura movements with more regularity. Too much of this display and the message becomes the dancer’s individual prowess instead of the work at hand; everything becomes subverted, and we loose nuance and subtlety. Yes, this approach is commercial, sells tickets, and has its place in divertissements, but can in the end, become cloying and unsatisfying, beyond the spectacle, projecting nothing. So, having the dancer’s live their roles with honesty, grounded in the context of verisimilitude with the story, will always, in the end, appeal to the audience’s desire for inspiration, transcendence, and the enjoyment of recognition of truth and beauty.
Perhaps from this group of dancers we will one day see an individual emerge that can lead the way to a new and honest view of dance that bridges the gap to the past (i.e. Dame Margot Fonteyn), and reflects the actual gift of performance that Gelsey Kirkland herself offered the world of ballet. Look at her Nutcracker for instance!
Here’s wishing the Directors, Faculty, and dancers all the luck in achieving their goals, and congratulations on your auspicious beginnings.
(company photos courtesy of GKA)
Cunningham Studio, New York, New York
Reviewed by Carlos Stafford, The Model Critic
Anna Sokolow (1910-2000), iconic modern dance choreographer, whose career vigorously spanned the entire 20th Century; an artist in whose life and times collaborated with many of the great dancers and choreographers of her era; an artist with deep roots in Israel, Mexico, and the New York dance scene, was honored with a performance of a few of her representative pieces, Nov 14th, at the Cunningham Studio.
Before “Odes,” the most important offering of the evening, a short film presented Sokolow working with dancers at Ohio State University, and these asides are loosely recalled:
Words lie, movement never lies.
Steps are important, but what really matters is the mood and the drama created.
I don’t want to be popular. I don’t want to please everybody. I want to tell the truth.
Sokolow, above all, wanted her dancers to be committed, to be connected to belief, to seek the most beautiful way of expression. She also stressed clarity of movement, and definite, strong gestures.
“Odes”–Accompanied by flutist Roberta Michel, and music by Edgard Varese, twenty-three dancers created an intense, highly dramatic mood of terror and dehumanization. With mechanical blips and bleeps in the soundscape, conveying the interior horrors of a concentration camp, the dancer’s frenzied movements of fear and impending doom created a frightening mood. The dancer’s total commitment to living the choreography with honesty, belief, and energy made this piece entirely engrossing.
But if you were to deconstruct the choreography from “Odes” and “Two Preludes” which topped the evening’s presentation, the dominant theme would be pain and suffering, nothing light, nothing edifying; misery, we would find, is the human condition, the overriding motif of these dances. That Sokolow defined this theme well cannot be denied here; in this sense she accomplished her ends. In “Two Preludes,” an intimate solo, danced beautifully by long-limbed Melissa Birnbaum, we have a dance created twenty years after “Odes,” but with the same mood, although not as deadly intense: remorse, loss, internal suffering, contractions to the floor, implosions of energy, fetal postures, head cupping, unsteady footing–everything pointing to imprisonment on being. The same applied to the personal work of artistic director Jim May, in his solo “Passage” and “At the Still Point of the Turning World” by Ernestine Stodelle–a very literal dance to a poem by T. S. Eliot; both encompassing the very same themes–No Exit.
As you view these dances, you are reminded that as culture evolves, language changes. The same applies to dance vocabulary–the symbols and images become dated and loose their frisson. For example, if you see a performance of a Broadway show like “A Chorus Line” today, it reads as refreshingly quaint, and a bit dusty; no modern viewer would believe, for all its merits, that it had won a Pulitzer Prize in its day. It simply doesn’t speak to today. The same applies with these museum pieces by Anna Sokolow; once relevant, but difficult to watch now.
But most relevant to this performance, is the notion of depressing doom and gloom. It begins to look like artistic self-indulgence or posing–to have one idea pounding out the nastiness of life, and nothing else. Of course few view the world quite like this, or else we’d all jump into the East River. Finally, we can look at this performance either as a bad choice of programming the pieces of this legendary choreographer, or perhaps as a real glimpse into Sokolow’s concerns as a choreographer. In either case, it was difficult to watch, not solely because the dance movement did not transcend time, but because the ideas expressed were not balanced.
MAN AND BOY
A Problem of Confidence and Liquidity
Theatre review by Carlos Stafford, The Model Critic
The Roundabout Theatre in New York opens its 2011-12 season with a sober, well-written play by Terence Rattigan from l961. The ever reliable Roundabout, has decided to offer a play for our times that starkly makes its point, doesn’t belabor its message, and wraps up neatly, no apologies. With occasional humor and icy reality, we are presented with a Rasputin-like international financial wizard from the 1930’s, and his relationship with his estranged son.
In a word, you are led to think of these modern day figures from recent history: Bernie Madoff, Bernie Ebbers, Samuel Israel, Jeffrey Skilling from Enron, Ken Lay, Scott Rothstien, Tom Peters, Alan Stanford, Jerome Kerviel, etc., characters all famous for over consumption, and feeding at the trough of public gullibility .Man and Boy is reputedly based on the life of Ivan Kreuger, an earlier version of a ponzi scheme artist, who killed himself for this same form of gluttony.
Stage icon, Frank Langella plays Gregor Antonescu, and does another great theatrical turn; he gives the feeling that the role was created for him because of his obvious physical bearing, wit and sophistication. A few seasons back, before Nixon/Frost, he played Sir Thomas More in A Man for All Seasons; a supremely ethical man in the Court of Henry Vlll, who is led to the gallows for his beliefs. Here, he plays the polar opposite–an intriguing Romanian-born financier, who as his resume states, saved the post-war French Franc, brought roads to Yugoslavia, and electricity to Hungry. However, like a sophist, he is likely to bend the truth; for his raison d’etre is not in doing good, but at winning at all costs, no matter the method. In other words, his truth is another man’s slippery slope. For him there are only two kinds of people, those who do and those that don’t. As an actor, Langella certainly does, and is riveting in his theatrical skills and believability; his diction, behavior, and command of the stage even makes his character sympathetic.
Antonescu has made a fatal mistake. His vast empire is collapsing. The world has caught on to him–he has a severe “confidence and liquidity” problem; the stakes are enormous and pressure is mounting–his stock has dropped 23%, national financial calamity is eminent. Gregor Antonescu has already survived many set backs in his career, even numerous assignation attempts–can he survive this challenge? In the face of it all, he remains calm, detached, and even charming.
In a well conceived single-set play, we find Boris (Adam Driver), Gregor’s son, living with his girlfriend in a depression-era basement apartment, Greenwich Village, early 1930’s. A Socialist, Boris hasn’t seen his estranged father in five years. Suddenly, he receives a visit from his father’s assistant, Sven (Michael Siberry); the media of New York is hounding them for information, and need a safe house for an urgent middle-of-the-night meeting with the president of American Electric, in a last ditch effort to save the faltering merger with Manson Radio. It would be the most important meeting of Antonescu’s life, and he seeks his son’s help. Shocked to see his father in these circumstances, and remembering wounds from his demeaned past, Boris reluctantly agrees.
As the meeting unfolds, we see the characters emerge. Mark Herries ( Zack Grenier) president of American Electric plays his smallish role with quiet aplomb as the secure and knowing rival to Antonescu’s
pitch. Antonescu convinces, befuddles, and masterfully digresses in his cool, desperate attempt to reach an agreement, and as he does, he even astonishingly uses his own son as a homosexual lure for the executive he knows to be a closeted “fairy.”
Let’s put it this way: Plato, Buddha, Jesus, Gandhi, or Mother Teresa wouldn’t ever go to Starbucks with Gregor. But if they did, Plato would say, did you ever consider that happiness does not follow from injustice?
Buddha would silently nod in agreement: Or that desire is the cause of suffering? Jesus listening would say, did you ever hear of my idea, Gregor my son, that man cannot live by bread alone? Yes, I always thought that too says Gandhi, and that oppression of others destroys the soul of man? Finally Mother Teresa hands Gregor a cookie, and says, come give your mother a hug, and remember even the rich are hungry for love.
But enough of this! This is exactly what the play doesn’t do–moralize. The direction is crisp and to the point, the actors don’t lay on sentiment or sermonize. Man and Boy is not presented as a morality play, but a play that tries to mirrors life, about choices people make from their own point of view. Langella and Driver, man and boy, or better, father and son, have an unbridgeable gap separating them. Antonescu’s life is driven by one passion only: to be recognized, to obey his dictum that says, appearances are all that count; love, as he states, is a commodity he cannot afford. His first wife, mother to Boris, was a Romanian burlesque dancer; his present wife, plucked from the London typing pool, received the title of Countess for a little money on the side. She, portrayed in broad strokes of cynical humor by Francesca Faridany, appears in a brief scene towards the end, to make sure her interests are secure; base and disloyal, she sees Antonescu as a meal ticket mostly, and desserts him when the pressure mounts. Faridany plays her as a hyperbole of a disloyal wife, that is very entertaining in an unedifying way Sven, his long time “loyal” assistant, also abandons Gregor, but not without showing some form of humanity in his mostly snaky self interest. Siberry does well here, as we see him transformed into a Svengali-like character.
As negotiations fall apart, as the tabloids of London report of Antonescu’s indictment for arrest, Antonescu is left alone without support. Only his son, the person Antonescu has abandoned as a boy, belittled as weak and worthless, comes to his aid with an open hand. Gregor senses his son’s love and humanity, and becomes his haunting conscious. As in Wordsworth’s poem, the child becomes father to the man, and in another sense, tries to help his father escape. But this will not do–it is much too late. There is no room for love. Alone in his son’s apartment, he examines a earlier photo of the two in a happier time–a lost moment on a beach in Biarritz. Gregor has always know this day would arrive. He puts on his hat and coat, and without excuses, slips cold steel into his pocket and disappears into the night.
It was a sobering affair, with a quick double scotch to make it go down easier. Audiences should see works like these, as well as frothy ones like Anything Goes, for the full affect of what theatre can offer.