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The Independent from London, Greater London, England • 49

Publication:
The Independenti
Location:
London, Greater London, England
Issue Date:
Page:
49
Extracted Article Text (OCR)

of REVIEWS 19 THE INDEPENDENT TABLOID FRIDAY THEATRE The Maids Donmar Warehouse, London here are few certainties in theatre, but it's a on stage, John Crowley's carefully paced production safe bet contemporary that you're playwright unlikely to dramatising find a "the begins doorway. with a Whispering shaft of light gently cutting into each through others' an ears, open servant Writers from Plautus via the two sisters steal into the hushed majesty of Our Strindberg to Jean Marsh with Upstairs Downstairs Lady's bedroom. Crowley -evokes a mysterious found it immensely fertile territory. Genet's hallowed air as the maids circle the luxuriant Louis treatment of the subject in his first produced play Quinze bed, an atmosphere abruptly broken when The Maids, however, remains unique. Niamh Cusack jumps exultantly upon it.

This is not His highly charged tale of two sisters who set some high directorial conceit. Crowley's decision about murdering their mistress and end up cleverly leads us into the play's governing mood. murdering one another is told through a series of The heightened language and power games are part sadomasochistic power games of impersonation and of an almost religious ritual for which an audience role-play, steeped in formal elements of the needs preparation. Catholic Mass. Small wonder that at its Paris There are two major problems facing the director premiere 50 years ago, the press reaction was of The Maids.

The fact that Genet was homosexual almost unanimously hostile. Genet even punched doesn't make this "a homosexual Crowley the critic of Le Figaro for his negative notice. reverts to the original all-female casting, avoiding the Another reviewer wrote of its "unreal characters, common trap of casting men and risking not only strains of a bad sermon and rebellion, and an poorly executed camp but also a blurring of the play's unhealthy sense of obsession" which simultaneously preoccupation with power. The other trap is to bow misses the point and acts as an oddly succinct low before the altar of Genet's high seriousness, a summary of Genet's intent. fate he banishes with David Rudkin's fluent Contrary to the text, which starts with the sisters translation and occasional flashes of bathetic TANGO Gidon Kremer QEH, SBC, London A the encore Elizabeth stage of after Hall the on encore packed the first rolled Queen off the three-piece bandoneon Queen band would Elizabeth of course.

Hall immaculately with Kremer a at night of the South Bank's Meltdown trained conservatory musicians Per Festival, Gidon Kremer's smile Arne Glorvigen, bandoneon, Vadim seemed to indicate that he might Sakharov, piano, and Alois Posch, cheerfully give up all the classics for double bass is the boss, and the the chance of playing the music of balance of the group is changed by Astor Piazzolla. A new love seemed having the violin rather than etched on his face, perhaps a strange bandoneon in the lead. If, at first, in one: a Latvian violinist hooked on an the gloom of blue light, the playing Argentinian's tango? But when did seemed moderately straight-laced, by love or art observe boundaries? the time the encores started, the It's an interesting quirk of fate lights had come up, and a full camera that Piazzolla's nuevo tango should crew was on stage, the music-making now be so by "classical" was loose and magical, the rapport musicians. For it was Nadia between the players one of intimacy Boulanger, that ambassador of and fun. Kremer captured the spirit "classical" modernist music, who of Piazzolla to perfection hinting at packed the young Piazzolla back the roughness, tender with his tone, from Paris to Argentina in the judging the hesitating slides perfectly 1950s, exhorting 1 him to even though the smoke of Buenos revolutionise the tango rather than Aires was nowhere to be found.

mess with straight-laced serialism. Piazzolla's fangos give an almost No doubt she recognised his Cubist perspective to the form. The extraordinary lyrical gifts, gifts that sensuality, raunchiness and could never have found expression melancholy of sweet bitterness sway within serialism's narrow confines. over the syncopations of the tell-tale In Britain, Piazzolla was hardly rhythm but there's always a surprise, detected before his death in 1992 at an unusual harmony or colour the age of 71. His first appearance rasping behind the bridge, tapping was at the Almeida in 1985; attempts on wood or a turn from yearning at negotiating a UK tour for 1987 sweetness to astringent insistence.

were thwarted by the after-effects of The programme re-lived, in the the Falklands war. In London, he main, the repertoire from their played with a quintet comprising sensational CD, Hommage violin, double-bass, guitar, piano. Piazzolla. Even the Georgian Piazzolla himself was on bandoneon- composer Giha Kancheli provided the ultimate squeeze box and very an encore, a small jewel: "Instead of much the leader. The band had a a He too is touched by the roughness, an earthiness, through Piazzolla spell.

which the poignant cry of the Annette Morreau these as to the manner born, he also gave a forthright account of Chopin's Barcarolle, sensitive performances of Chopin's Op 59 Mazurkas and a wellshaped one of the epic fourth Ballade. The series has been a noble undertaking and Roscoe is not only an exceedingly reliable and consistent pianist, he is also irrepressible. But some of his most enjoyable playing has been of Debussy and, on this final night, he evoked all the sensuousness and orchestral depth you could expect in four from the second book of Preludes. Igor Zhukov has waited a long time to give his first recital in London, which he did at the Wigmore Hall on Wednesday. Now in his early sixties, Zhukov spent several Totally devoted: Kerry Fox as Solange kissing the foot of Niamh Cusack's Claire Photo: Geraint Lewis his actors' performances which, although impressive, are oddly disconnected.

(For once, sitting at the side of the Donmar is not like watching through glass). Swathed in Tim Hatley's well-cut New Look black-and-white check and adorned with fur, Josette Simon has a nicely petulant hauteur as Our Lady but occasionally you feel you are watching her acting rather than her character being playful. Niamh Cusack's sinuous, insidious Claire is similarly detached at first but she gradually slips into the rhythm. Kerry Fox is bravely sullen as Solange and by the fierce climax, beautifully counterbalanced by the poignant strains of a musical jewel box, her soundless weeping is hugely eloquent. It's a testament to a production which, although low on eroticism, grows in intensity.

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