Scarlet Theatre, Princess Sharon

Review in Issue 9-2 | Summer 1997

Princess Sharon breaks a well-established mould for Scarlet – and not just because there are men in it. The character of Sharon, beautifully played by Sue Maud, provides a simple and very effective counterpoint to the usual array of contorted crazies in which Scarlet specialise, showing both styles of performance off to the company’s advantage, and giving the action a chance to slow down sometimes. Scarlet’s trademark twitching and stylised movement blends well with director Katarzyna Deszcz’s clarity of vision and Polish writer Witold Gombrowicz’s absurdist play Princess Yvona. The sense of a collaboration in true ‘total theatre’ style is strong, especially in Nigel Piper’s music (a bizarre cocktail of Slavonic violin, tweeting birds and processional marches).

In the kingdom of this production, it’s literally impossible to step out of line and the successful execution of a mere curtsy requires a long period of training. But Prince Philippe, heir to the throne, is getting bored of all this. And behold, up wanders floppy Sharon, the only girl with absolutely no interest in marrying a Prince. So Philippe resolves that she must be his – ‘But if only she would say something.’ The court’s hysterical reaction to his choice gradually stiffens into a grim resolve as they realise that Sharon’s indifference might destroy them all.

Presenting Artists
Presenting Venue
Date Seen
  1. Apr 1997

This article in the magazine

Issue 9-2
p. 25