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Review: Thebes Land, Arcola

Funny, caustic, poignant and profound - don’t miss

15 September, 2017 — By Lucy Popescu

THIS terrific meta-theatrical play by Franco-Uruguayan playwright Sergio Blanco memorably opens the 10th CASA Latin American Theatre Festival.

Superbly translated by Rob Cavazos, adapted and directed by Daniel Goldman, Thebes Land succeeds on many levels. I’d love to see more by this playwright. T (Trevor White), wants to write and stage a play about Martin (Alex Austin), who is serving a life sentence for a brutal patricide. T begins visiting Martin in prison in an attempt to understand his motivations for stabbing his father 21 times with a fork. Initially, the “Ministry of Justice” tells T that Martin can play himself in his Arcola production.

Then this is deemed too dangerous, they reverse their decision and, T has to employ an actor to play the role. RADA student, Freddie (Austin) is auditioned and cast and he begins to makes his own suggestions as to how the play and his character should develop. Jemima Robinson’s imposing giant cage, complete with CCTV, dominates the stage. This serves as Martin’s prison, the basketball court where he meets T and the rehearsal space.

T enjoys referencing classic texts, art and music from Sophocles’ Theban plays, Dostoyevsky’s The Brothers Karamazov to Franz Kafka and Mozart’s Piano Concerto No 21 in C major. These references mean nothing to Martin and therein lies much of Blanco’s humour – how stories are constructed and interpreted to meet our own needs. The play is also semi-autobiographical – as T and Freddie add their own creative ideas to the production, elements of Austin and White’s personal backgrounds are cleverly exploited.

The end result is funny, caustic, poignant and profound. Don’t miss.

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