AMAZONIA. To 24 January.
London.
AMAZONIA
by Colin Teevan and Paul Heritage.
Young Vic To 24 January 2009.
20m 11, 13, 15, 20, 23, 27 30, 31 Dec, 3, 7, 10, 13, 17, 19-21, 24 Jan.
7.30pm 12-13, 17-20, 22-23, 27, 29-30 Dec, -3, 5-10, 15-17, 21-24 Jan.
10.30pm 16 Dec.
Runs 2hr 10min One interval.
TICKETS: 020 7922 2922.
www.amazonia-london.com
Review: Timothy Ramsden 8 December.
Too committed for its own good.
Like a dog, a Young Vic seasonal show is for life, not just for Christmas. And what’s happening to the Amazon forest is of vital importance to its wildlife, its human inhabitants, Brazil, much of South America, ands probably the entire world.
Amazonia itself is organic to the Young Vic’s life. It’s grown from two years’ work in London and Brazil that’s included attending the Festival de Quadrilhas (central to this show), and a Brazilian Festa! outside the theatre last summer. Assassinated rubber-tapper activist Chico Mendes, who organised a campaign against cutting trees to create ranches for the mass meat market, figures in the play.
Alongside the politics, sometimes emblazoned worthily in the words, there’s the forest’s mystic antiquity, the myth of a bull brought back to life (nothing like a bit of Resurrection for Christmas), lively movement and moments of verbal comedy.
But however many ideas and techniques a piece contains, there needs to be an instinctive pulse driving it forward. There’s none here. Elements clash confusingly. Even if you know who Chico Mendes was, what the Quadrilhas is, and signifies, and see the attempt to revive a dead bull by mouth-to-mouth resuscitation as more than the gross action so many young people found disgusting (as in a massed “yeugh”).
Even then it’s hard to focus on what’s happening, let alone what it means. Those with pre-heightened political consciousness may realise Chico’s right and ardent young Ricardo, who wants to create wealth by changing the forest for ranches, is wrong. Others may find Chico, who hangs around a lot, a puzzle, while Ricardo has a sympathetic sincerity.
Sometimes theatrical effects take over from dramatic development; sounds of tree-chopping like an acid-house Cherry Orchard are just loud for effect (and don’t match the machine saw later brought on). Water splashed over some audience members is a heavy-handed attempt at humour. Characters rarely acquire reality (Francisco apart, but that’s thanks to Simon Trinder’s comic humanity). It must all have meant a lot to those living the production’s development. Dolloped out it loses significance. Oh for a bit of reflection and detachment.
Chico Mendes: Daniel Cerqueira.
Seringueira/Moon: Meline Danielewicz.
Seu Antonio: Jeffery Kissoon.
Rosamaria: Daisy Lewis.
Pescador: Tyrone Lopez.
Ricardo: Chris New.
Vaqueiro: Wale Ojo.
Catarina: Golda Rosheuvel.
Tia Tereza: Amanda Symonds.
Boi/Boto: Diogo Sales.
Francisco: Simon Trinder.
Musicians: Felipe Karam, Anselmo Netto, Gui Tavares.
Director: Paul Heritage.
Designer: Gringo Cardia.
Lighting: Philip Gladwell.
Sound: Dan Jones.
Musical Director: Santiago Posada.
Choreography/Movement: Jean Abreu.
Assosiate director: Joe Hill-Gibbins.
Assistant director: Lootie Johansen-Bibby.
Associate designer: Ben Gerlis.
2008-12-11 00:44:01