His Majesty’s Theatre
Until March 2
Turnstiles was taking something of a busman's holiday, sans reviewer's cap, at the Maj on Thursday night.
Nevertheless, one line from Schaubühne Berlin's intense and striking Trust particularly stuck in the mind. Bob Dylan once declared that "money doesn't talk it swears". Thirty-five years later, Trust provides a cold, calculated update: “Money prefers to live on without us”.
In this country we have so far been spared the worst horrors of the new politico/economic paradigm that has arisen since the GFC, which says bankrolling the big and wealthy is a virtue while protecting the small and poor is a vice. But that's perhaps a happy accident rather than the result of any humane intent.
Nevertheless, one line from Schaubühne Berlin's intense and striking Trust particularly stuck in the mind. Bob Dylan once declared that "money doesn't talk it swears". Thirty-five years later, Trust provides a cold, calculated update: “Money prefers to live on without us”.
In this country we have so far been spared the worst horrors of the new politico/economic paradigm that has arisen since the GFC, which says bankrolling the big and wealthy is a virtue while protecting the small and poor is a vice. But that's perhaps a happy accident rather than the result of any humane intent.
It’s the consequent, grinding collapse of personal confidence and trust Richter and van Dijk record here in movement, music and words.
Their technique (a dangerous one, I must warn you, for the sleep-deprived) is to elevate movements into dance, sounds into music and words into poetry through repetition; it gave the work a formality that survived even its sometimes chaotic action.
The West Australian's Robin Pascoe link here and Theatre Note's Alison Croggon (link here to her reviews of both Trust and Aftermath) were there.
Their technique (a dangerous one, I must warn you, for the sleep-deprived) is to elevate movements into dance, sounds into music and words into poetry through repetition; it gave the work a formality that survived even its sometimes chaotic action.
The West Australian's Robin Pascoe link here and Theatre Note's Alison Croggon (link here to her reviews of both Trust and Aftermath) were there.
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