What family thing. JRT Show Glass Beary Review / Day

The choice in favor of dramaturgy, whose value does not require commentary, is a step towards a successful production, as people have repeatedly admitted that by hitting the real rails, the character develops and the relationship between the characters develops naturally and natural. In the New Riga Theater (JRT) its original artistic director Juris Rijnieks has returned with the autobiographical motifs of the American classic Tennessee Williams Glass (1944) stage version. The actors have inexhaustible deep roles that can be played in a wide range of emotional amplitude, while for spectators, an example of theater practices showing how different the theater scene can be, where both innovation and aesthetics are outdated.

A chair of the understanding

Using the new hall options, the scenographer Martins Vilkarsis has placed the pod, on which the Mother Amanda and her two adult cares have been placed on the spectators’ roster. Its diagonally formed composition and rusty gray colored colored associations with Theodore Geriko’s painting Jellyfish – This time as a very unreliable last shelter in the shadow of predatory capitalism. The stage arrangement echoes the play written later on the playwright Cat on a tin -tin roof The premiere of 1955, when, according to scenographer Joe Milziner’s idea, the playroom with one corner stretched out into the audience, including the narrow circle of family drama witnesses.

There is something more than poverty in the surrounding grayishness, which has taken over every gap of every apartment. This is the subject of decisions. The chosen interior and the color palette is not original in the artist so far, but rather a variation of the theme, literally reviving the bright Etacer in one of the cacti of the apartment. It houses glass figures where Laura, a physical defect and psychological complex, has found reliable companions. This expressive stage mark is sometimes magical by the playful kaleidoscopic glare made by Arta Cranberry on the screen placed on the bottom of the furniture.

Nick Cyprus’s light through the window panes draw a ghostly contours in the dark rooms and a clear emphasis on the chair of the understanding between the heroes. For a moment, anxious red is illuminated by the clusters leading to decadent adventures, as if continuing to think that these people, especially Tom, will not help to change the landmarks set by destiny.

The era matched Jolanta Rimkut’s costumes are kept in the scenography -related gray tone and at the same time complement, rather than decorating a message that is particularly distinguished by the elite of the southern states of their time in the yet romantic details of Amanda Green. It is easy to believe that it makes her remember her once booming youth and develops hard to hide the pride that she still looks great in it.

Everyday conflicts

Such a visual image of the show encourages strong feelings and inevitably requires equally intense roles. No matter how honest the actors have tried to learn the path of their heroes, their relationship remains mostly formal. The actors are difficult to struggle to achieve the emotional climax of the dynamically written explanation of the scenes, when the differences in expectations and choices in the dialogue of Laura and her imaginative cavalier, as well as Amanda and Tom’s default accusations in the perpetrated final dispute. For comparison, Tennessee Williams’ plays at the New Hall of the Latvian National Theater Long tram In the production, the word battle is played in the truth of almost pathological life.

Elita Klavina’s mother’s image is based on outwardly intonations and grimaces, but this theatricality does not grow in a tragic grotesque, convening her established tradition as a tyrant woman. It cannot be denied that such an approach allows you to make more fun in some comic scenes, for example, when she tries to seduce the daughter’s cavalry for dinner because of his inertia, surrendered to the past scenes of the past with their own proud debutants. But Amanda has no crypt evil that could hate him. Children are annoyed by her tiny and everywhere presence, but it seems to be masked in the inability to fulfill their true desire to settle the lives of children who had to become a rich plantor’s descendants, but who are forced to exist in a lowered courtyard building, which is leading to an insignificant crossroads.

With himself and everyday troubles, Tom Ritvar Login shows, using his recent form of scenic existence. His hero is very businesslike – not only talking to his mother and sister, but also as a teller addressing the audience. The actor seems to deliberately avoid a bit more illuminating the enigmatic nightgown of the future writer and future intentions that have nothing to do with poorly paid work in a warehouse to maintain the family. Tom Harjo, on the other hand, according to the explosion of the hooligan temperament, amusing in the image of the heir of the political elite of the French degraded Last mealNow, now Jim has been hidden again in flirty smiles and played in a comforting tone, not letting him understand why he unexpectedly assumes such care to awaken Laura’s femininity to leave her from her upcoming marriage to another woman.

For all these reasons, the scenic activity becomes everyday, conflicts everyday, but drama is missed. The relentless string of sadness, though, manages to maintain Agate Christ Laura. The quintessence of the actress’s previously used means of expression allows you to get to know a conceptual image characterized by some retardation, a glance transmitted through the forehead, and an unsafe -drawn replica. Dear a naive adventure with Jim, who ends up, the young woman herself becomes the unicorns of both passionate dances from her cherished collection – released from her dreamy timidness, she is no longer special but still remains inappropriate in a world that does not have time to remove with peculiar characters. At the same time, the belief that the taste of life has just enjoyed will encourage you to leave the fatal illusion and the fantasy -stamped beast.

Daffodil

The aesthetics chosen by the creative team show an attempt to incorporate the principles of plastic theater defined by the playwright, according to which different techniques for the creation of the atmosphere must be used. The realization that the text is just one of the messages forming elements has become the norm in the modern theater, but with the formal realization of the playwright’s ideas today, today, it is obviously not enough to fulfill his expectations for a true rather than a realistic view, which is not the same. This time, attempts to revive existential disputes are illustrative and the show draws archaic. For the text, correspondent video projections in one of the scenes rescue only Laura’s instinctive movements in an attempt to capture a falling narcissi when they, as the memory of the removed mother, take over the stage space. The mottled musical background also works mostly from the heroes’ experiences.

Meanwhile, the alienation techniques offered by the author to concentrate the viewer’s attention is paradoxically dispelled – the inscriptions projected on the stage of the stage, formulating the essence of the particular scene, and the introspective comments addressed to the audience are another source of information that has to find a place in its already effectively congested production.

Just as no one has a binding idea of ​​playwrights to staging scenes created in their imagination, it is not mandatory to analyze the subtitles encoded between the rows. Tennesssey Williams is, therefore, a classic that does not impose topics on himself. And the director does not have to obey the agenda of others. However, it is wasteful not to use the generously offered opportunities to interpret the biography and storyline of heroes to remind the viewer of the complexity of the world around the world.

Knowing the playwright’s life and habit of speaking for himself, which is also indicated by the show program and one of the video projections that overlaps the portraits of the playwright and Tom, it is doubtful whether Jim’s urgent cause is suddenly awakened by the bride and whether Tom spends evenings outside the house in cinema.

Show Glass It will definitely find his viewer who will feel comfortable again in the simplified story, but hopefully a large part of the theater will require much more and not fearing when they come across the unknown.

Glass

JRT New Hall 9, 10, 27V, 1, 3rd, 3.IX 19
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