Reviews by Ivor Houlker

Ivor runs Rooftop Productions in Hong Kong, a theatre company known for multidisciplinary contemporary work. He trained as an actor at Rose Bruford College, and completed his MA in performance at Goldsmiths College, London.

Sophocles’ Antigone | Natassa Triantafylli

June, 2013 | The Benaki Museum, Athens

Sophocles’ Antigone at the Benaki Museum, directed by Natassa Triantafylli and part of the Athens festival was performed in a very promising space – the museum’s central courtyard. Seating was provided by the local tennis club (presumably), but the other architectural elements were richly complex and allowed for a lot of intricate spatial relationships.

Unfortunately, that’s where the positives end. I am told that the actors participating were well-known and even award-winning in Greece. Perhaps their physical ineptitude and awkwardness is usually masked by the audience’s concentration on the text, but unfortunately while I know the text extremely well, my not being Greek made me concentrate on other elements more. Perhaps they are film actors. I have seen amateur Shakespeare perpetrated in the UK with far less shuffling of feet and vague wandering around.

Actionconstraint II | Andrea Cusumano and Thibault Delferiere

Saturday 28th July | Cantieri Culturali alla Zisa, Palermo

ACTIONCONSTRAINT II, by Andrea Cusumano and Thibault Delferiere, was performed in the Cantieri Culturali alla Zisa in Palermo. The piece is an action painting that takes the form of a contest between the two performers – who are both accomplished painters and artists in their own right – in which their physical struggle creates the central artwork.

The performance involved action painting, and is a progression from previous work that Thibault and Andrea have been doing together – there was a version of it performed outside the Library at Goldsmiths in London before – though this was a very different piece in many ways.

Aristophanes’ Plutus | Dionysis Savvopoulos

12-13th July 2013 | Ancient Theatre of Epidaurus, Greece

Dionysis Savvopoulos is a famous composer and lyricist in Greece, popular in the late sixties but still apparently popular enough to be able to make his ‘directing’ debut in the ancient theatre of Epidaurus.

The play is Aristophanes’ usually less popular Plutus, although in Greece’s current political climate it seems an obvious choice. Plutus, the god of wealth, was blinded by Zeus to prevent him from giving wealth to people who actually deserve it. Chremylos, an Athenian, plans to cure him so that the virtuous (such as himself) will instead become rich. The goddess of poverty tries to persuade him that this is a bad idea, since the economy will no longer function – there would be no slaves, and nobody would work hard and create luxury goods. Chremylos gets Plutus’ eyesight restored at the temple of Asclepius (which is actually next to Epidaurus), and the world is turned upside-down. A series of characters come to Chremylos’ household, the nouveaux riches and the recently impoverished bankers. Eventually Hermes turns up to complain that people no longer sacrifice to the Olympian gods, and humbly asks if he can work as a servant.

The Feather Catcher | Filskit Theatre

May 2013 | The Warren, Brighton Fringe

It’s perhaps just a coincidence that two companies of Rose Bruford graduates performing at The Warren in Brighton Fringe have shows called The (Something) Catcher, aimed at kids, with live music provided by a reed based instrument. However, it seems to be a very successful combination. The Feather Catcher is the offering from Filskit Theatre, who are becoming known for their use of pico projectors and storytelling.

The group makes great use of the projection, replacing complex projection mapping technology with a simple hand-held pico projector from the front of the stage. It is clear from the audience of children of all ages and their families that this loses none of the magic of what is being done, and I was never distracted by the presence of the operator front and centre – attention is directed well onto the interaction of the performers onstage with the projected image.