Camden Fringe 2019 Archives - Page 2 of 16

★★

“A more undiluted approach would undoubtedly give a much sharper taste of the man and his muse”

“Muse” is a new play based on the life of surrealist photographer Dora Marr and her relationship with Pablo Picasso. Given just a sixty-minute slot as part of the Camden Fringe it cannot hope to be much more than a snapshot of this fascinating and turbulent liaison. Their relationship lasted nearly nine years, during which Picasso held onto his other mistresses; in particular Marie-Thérèse Walter, the mother of his daughter Maya. Picasso was a complicated and multi-layered character whose wives and lovers were absolutely integral to his career; they were very much the subjects that inspired him, and while history neither condones nor condemns his sometimes abusive conduct, it relishes exploring the relationship between the artist and his muse.

Antonia Georgieva’s play follows a long line of dramas that focuses on this theme. But rather than focus on its subjects the lens swoops chaotically, trying to catch a wider angle and cram in too many other personalities. Surrealist poet Paul Éluard and his wife Nusch make cameo appearances, Man Ray gets a mention; the writer Lise Deharne and art critic Françoise Gilot are caught off camera. The result is a blurred portrait that, instead of enticing us to unravel the confusion, is not particularly interesting to look at.

By her own admission, Georgieva, who also directs, has opted for an abstract, fragmented telling of the story. The cast, whilst appearing not to know fully what that story is, give committed performances. Sarah Kentish’s Marie-Thérèse Walter stands out with her mix of jealousy towards and superiority over Dora Marr, neatly combining the desire to fight with a weary resignation. But Jahmai Maasai lacks the presence and bullish charisma to portray Picasso. Whether he is trying to reveal the softer side of Pablo is unclear, but you never get a true sense of one of art’s most famous womanisers. He appears weak, especially in the famous episode where, having been confronted by Walter and Marr to choose between them, he tells them to fight it out for themselves.

The peripheral characters are somewhat superfluous, and hugely underwritten. Georgieva gives Claire-Monique Martin’s spirited Nusch Eluard too fleeting an appearance (Nusch is a character who deserves a play to herself) and the others are cruelly relegated to the side-lines.

Pablo Picasso had complicated relationships with many of the women in his life. He either revered them or abused them (famously quoted as saying that “there are only two kinds of women, goddesses or doormats”). He was married twice and had multiple mistresses, often simultaneously, and it can be argued that his sexuality fuelled his art. “Muse” is a generalised account of this fact that gives short shrift to his muses. Blink and you miss a couple of them. A more undiluted approach would undoubtedly give a much sharper taste of the man and his muse.

Reviewed by Jonathan Evans

Photography by Timna Lugstein

Unlovable

Etcetera Theatre

Reviewed – 22nd August 2019

★★★

“It may be a bit rough around the edges, but Jurman’s show is audacious and ultimately loveable”

With her thirtieth birthday approaching and fed up with being single, Judith embarks on a last-ditch effort to make herself lovable by reading women’s advice magazines from the 1950s. This solo clown show by Carly Jurman is clever and frequently very funny, though it hasn’t quite found its stride.

Jurman plays two characters: Judith the clown, and Judith’s more rational friend, reluctantly helping her try to achieve 1950s housewife perfection. Accompanied by a nostalgic 50s soundtrack, Judith does her best while her friend narrates and advises via voiceover. Jurman is delightfully entertaining as the mostly silent Judith. With skilled, high-energy physical comedy, a couple of costume changes, and effective use of props, she creates a whirlwind of barely controlled chaos. The performance takes brazen turns from sweet and silly into the genuinely gross. A scene involving a shaving accident is not for the squeamish, and a bit with a real, whole supermarket chicken is not for the vegan. Judith’s pouting or muttered protests in response to the voiceover are an excellent stroke, proving to be some of the funniest lines in the show.

The voiceover provides a good format. Judith is doll-like – ditzy, largely without speech, suggestible, and occasionally rebellious – as she makes a mess of following instructions. However, the recording itself is a weak point in the production. A bit awkward and stilted, the audio jokes don’t land nearly as well as the ones Jurman performs live. There’s a funny moment when Judith eats marshmallows off the floor. It works well as visual comedy. Jurman’s voiceover comment, “What are you? A human hoover?” isn’t necessary, and falls flat. Regular iterations of “ugh, Judith!” and “Judith, no!” come across tinny – it feels very much like listening to a recording rather than the present voice of a convincing second character.

The opening of the show has a similar problem. Jurman enters and announces she’s looking for Judith. The ordeal she makes of ‘looking’ and her repetitive lines, “Judith! Where are you! There are people waiting!”, feel wooden. The bit goes on for a little while too long. Following this, the scenario of Judith’s friend being locked in the closet doesn’t really make sense – are we meant to understand she’s talking to Judith from the closet throughout? A bit more development regarding this setup, who the friend/narrator is and her place in the story, could benefit the show.

Throughout the story, there’s a loose thread questioning whether modern society has progressed all that much from the ‘dark ages’ of 50s housewife magazines. Are our Groupons for spa treatments and plastic surgeries any better than the ads back then? This idea needs focusing. It isn’t coming through strongly enough for what is probably the show’s main argument.

Although it could use further development, Unlovable is wild and bold. Jurman proves herself a formidable performer as well as a proficient writer, couching some of the most important feminist questions in the craziest comedy. It may be a bit rough around the edges, but Jurman’s show is audacious and ultimately loveable.

Camden People’s Theatre

Reviewed – 22nd August 2019

★★

“A more undiluted approach would undoubtedly give a much sharper taste of the man and his muse”

The peripheral characters are somewhat superfluous, and hugely underwritten. Georgieva gives Claire-Monique Martin’s spirited Nusch Eluard too fleeting an appearance (Nusch is a character who deserves a play to herself) and the others are cruelly relegated to the side-lines.

Reviewed by Jonathan Evans

Photography by Timna Lugstein

Muse

Camden People’s Theatre until 25th August as part of Camden Fringe 2019

Last ten shows reviewed at this venue:

Etcetera Theatre

Reviewed – 22nd August 2019

★★★

“It may be a bit rough around the edges, but Jurman’s show is audacious and ultimately loveable”

Reviewed by Addison Waite

Photography by Taylor Burton

Unlovable

Etcetera Theatre until 25th August as part of Camden Fringe 2019

Last ten shows reviewed at this venue: