L-R: Zoe Watkins, Francesco Andolfi, and Carlotta Brentan in THE BALCONY. Photo by Richard Termine. |
By
1949, Jean Genet, had been dishonorably discharged from the French Foreign
Legion, had bummed around Europe as a petty thief and male prostitute, and had
been incarcerated on ten separate occasions.
His convictions had been for minor legal infractions including theft,
vagrancy, use of false papers, lewd acts, et al. but, under French law, the number
of his convictions still put him at risk of being sentenced to life imprisonment.
Fortunately for Genet, however, Jean-Paul Sartre, Pablo Picasso, Jacques
Cocteau, and a host of other cultural icons at that time were so impressed with
his literary brilliance that they successfully petitioned the President of
France to set aside his sentence, enabling him to continue to pursue a literary
(and politically activist) career as a free man.
Genet
wrote several versions of The Balcony (arguably
his best play) in the late 1950s and early 1960s but the shortened version best
known to American theatre goers is that based on the English translation by
Bernard Frechtman that was first staged at Circle in the Square Theatre in New
York and directed by Jose Quintero in 1960.
That version of the play was set in an upscale brothel in an unnamed
country (inspired by Franco’s Spain), in which the brothel’s clients played the
roles of powerful individuals (an army general, a bishop, a judge) while their
real life counterparts were engaged in a revolutionary uprising in the city’s streets.
Horizon
Theatre Rep’s current revival of The
Balcony at The Access Theatre in downtown Manhattan sticks pretty close to
that scenario (although it has been re-set with the furnishings of an upscale
hotel suite rather than those more typical of a bordello and has been re-interpreted
to reflect the economically inspired demonstrations currently taking place
throughout the Euro Zone rather than the Spanish Civil War.) The play’s dominant figure is still the
brothel madam, Irma (Maria Wolf) who directs all the performances in her house
of mirrors, fantasies, role-playing and illusions- and does so superbly. And her principal clients are still The
Bishop (Jacopo Rampini) who forgives a sinner, Carmen (Kimmie Solomon); The
Judge (Zoe Watkins) who punishes a thief (Carlotta Brentan) with the assistance
of the Executioner (Francesco Andolfi); and The General (Jon Okabayashi) who
rides his horse (Alison Paula Campbell) – all of whom turn in fine performances.
It
is within this context that Genet explores the dual issues of (1) dominance/submission
(both for individuals and for classes within society) and (2) reality/illusion (issues
which have engaged him in most of his other works as well). Here these issues come to a head when the
Queen’s Envoy (Carlo Giuliano) comes to report that the “real” Bishop, Judge, and
General have been killed in the uprising and their “fake” brothel counterparts
attempt to assume their roles; when the Envoy also reports that the Queen is
nowhere to be found and Irma resolves to play her role; when Chantal (Ines
Lucas), one of the brothel’s whores, leaves to inspire the revolution; and when
The Chief of Police (Rafael De Mussa, who also directed the play) arrives to
establish some sort of control but, even more, to seek some form of illusionary
immortality for himself.
Genet’s
plays generally are staged in highly stylized, almost surrealistic fashion, and
that is what I had expected from this revival.
But that is not what I got – which may have surprised me but certainly did
not disappoint me. Indeed, this was a more
realistic rendition of The Balcony than I’ve been accustomed to seeing - from the
television set presumably depicting street riots in real time to the hotel
suite’s accoutrements - but it probably made for a greater clarity in coming to
grips with the geopolitical problems confronting today’s world and that, after
all, is just what I think Horizon Theatre Rep and De Mussa were aiming at.
No comments:
Post a Comment