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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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Emotions run high at HighburyDeath and the MaidenHighbury Theatre CentreSutton Coldfield***** HIGHBURY
Players raise the bar yet again with a searing and passionate
performance of Death
and the Maiden. This
highly charged and emotionally gripping play by Ariel Dorfman centres on
Paulina Salas, a former political prisoner who in her past has been
sadistically tortured by a fascist regime. Scarred by her past and now living in isolation
with her lawyer husband Gerardo, a chance encounter brings her face to
face with her possible oppressor, Dr Miranda, whom she believes has
been her violent and abusive captor. For revenge she takes him captive
in order to punish him and extract a full confession. Gerardo is unsure of her accusations and the
three people each argue their respective claims, doubts and accusations
in a way that even at the end of the play the truth is unclear. To deal with a subject as controversial as this
requires the players to commit fully and in a powerful display of some
great acting, they did just that. The least intense of the roles, that of Dr
Miranda fell to Kerry Frater. Held captive, tied to a chair and in
silence for a good proportion of the play Mr Frater finally got his
chance to explode with a plea of innocence when facing his penultimate
end. Next in the intensity stakes was Robert Hicks
playing the husband Gerardo. Hicks was coolly convincing as the doubting
lawyer trapped between his duty and professional training and the
potential disgust at the possible criminal act that Miranda may have
committed against his wife in her former years. The sway of emotions
from scheming lawyer to outraged husband was captured beautifully. Finally Susie May Lynch must have been exhausted
after the work she has done in rehearsals and on the night in bringing
the intense character of Paulina Salas to life. Lynch positively
exploded with rage and manic repression and that was a joy to watch
whilst her every vein seemed to stand out so committed was her belief in
the part. The best interchanges were between her and her
husband, played out in the audience space, and the only downside of that
was for the first four rows half of the action took place behind them so
they missed a lot of Lynch’s excellent performance. Death and the Maiden
is a very adult experience. It contains some very graphic language and
offensive and disturbing descriptions, but it is a compelling story. A special mention must also be given to the
technical team who through some clever lighting and sound work created a
flowing atmosphere and slowly evolving mood throughout the play. However
one or two of the costume changes seemed to take an age to bring about
but fortunately the players regained the momentum once the play resumed. This is a play that could be directed in several different ways but Nigel Higgs, take has brought about a powerful and thought provoking piece that once again defies the word `amateur’. To 24-05-14. Jeff Grant14-05-14 |
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