Theatre Pur, Euphoria

Review in Issue 9-2 | Summer 1997

Was this a wishy-washy collection of overplayed ideas or a subtle ritual of unpredictable, unseen communication? Certainly the former, if one is looking for a clear cut ‘meaning’ – but the question of ‘meaning’ in visual theatre is something we will all be discussing until judgement day.

Euphoria conjures a collection of euphoric brains submerged in little speakers blurting out 1984 brain-wash speak, a series of small challenges, small satisfactions, and quite simply the small comforts in life like lampshades. It is a brilliant evocation of technology’s control over man. An actor desperately trying to make sense of what he is hearing through his headphones is the opening image. However, this original and off the wall note sadly faded out as the piece moved on.

Particularly destructive was the failure to incorporate the ever-present video monitor effectively – the attempts that were made contributed nothing. Does the use of a video screen on stage inevitably negate the actor or at least the actor’s ‘extra daily’ energy? If so, where does the fusion of theatre and technology lead us? Have Robert Le Page or Forced Entertainment cornered the market?

The actors in Euphoria seemed to be in constant anticipation mode. The clowning, though competent, was not complex enough to keep my interest for long and the piece in general was too easy – or have I completely missed the point?

Presenting Artists
Presenting Venue
Date Seen
  1. Mar 1997

This article in the magazine

Issue 9-2
p. 21