CELESTINA. To 8 October.
Edinburgh International Festival
CELESTINA
by Fernando de Rojas Translated and adapted by John Clifford
Birmingham Repertory Theatre at The King's Theatre To 26 August then Birmingham and The Hague to 8 October 2004
Runs 2hr 25min No interval
Review: Timothy Ramsden 19 August
Notable central performance in a hollow production.Staging the unstageable seems Edinburgh's dramatic theme this year. Neither Claudel's Le Soulier de Satin not Ibsen's Peer Gynt was written for staging. But Fernando de Rojas' Celestina, or The Spanish Bawd, from the late 15th century Spain, is even remoter from practical realisation. It is an extended dialogue but, as adapter John Clifford points out, neither play nor novel.
Nor is it entirely by de Rojas, who completed an anonymous story of love and witchcraft. The sorceress Celestina is used by young Calisto to gain the love of Melibea. Upon first printing, it was advertised as having a sweet and agreeable style, though de Rojas subsequently admitted some found it disagreeable and dark.
There's no doubt where this, heavily edited, production places itself. Calixtio Bieito seems, again, not so much to direct a script as stamp on it with size-twelve boots. For all the surface colour of this updated setting in a glitzy bar (where Celestina's witchcraft seems odd), there's a monotone to characters and atmosphere.
Everything is dark, cynical, cruel. Melibea, a spoilt, self-important young woman, is effectively raped, under the influence of Celestina's magic. There's nothing loveable about either young person. After sex Melibea asks Calisto, Who are you? a question with a different original context.
Such unremitting nastiness, in an expensive production for well-heeled theatregoers, is empty sentimentality, devoid of the humour and variety of any real human setting. Ironically, Bieito hits nearest home in his darkest scene. Celestina, without a moment's conscience, sells a girl with learning difficulties to a punter. At first uncomprehending, the girl joins in the Bawd's humour, as she has done all along. Till she returns, sexually assaulted and agonised. Thereafter she sits on a giant staircase, its rails like prison bars. There is a directness of experience here, lacking elsewhere, though it's compromised by the sensationalism of having an audience plant bid for the girl and pull her awkwardly offstage.
Kathryn Hunter's soulless Celestina remains a magnificent creation. First attired as a male gangster, later dolled up off her proceeds in female glamour, forever turning the cards, she's beyond sex after a lifetime's dealings with men and women, she's worn out with both genders. David Acton too does a fine job in tough circumstances; coming on as Melibea's father (a new character), after two hours, as posteriors perish and Hunter's fiery presence is removed, to sustain a lengthy lament.
Celestina: Kathryn Hunter
Calisto: Christopher Fox
Melibea: Laura Rogers
Sempronio: Neil McKinven
Parmeno: Daniel Cerqueira
Elicia: Souad Faress
Areusa: Aicha Kossoko
Lucrecia: Sarah Paul
Pleberio: David Acton
Pepe: Nick Aaron
Director: Calixto Bieito
Designer: Alfons Flores
Lighting: Tim Mitchell
Choreographer: Ana Garcia
Costume: Merce Paloma
Fight director: Nicholas Hall
Dramaturg: Pablo Ley
Assistant director: Carlos Wagner
Assistant designer: Rebecca Ringst
2004-09-06 09:58:58