|
Reader,
by celebrated Chilean writer and activist Ariel Dorfman,
is a psychological and intellectual labyrinth that rewards
assiduous consideration. It is one of those shows that is
fascinating at first look, but gives you more with each
additional viewing. And I intend to experience it again
myself.
The story is set in the future and revolves around a censor,
Daniel Lucas, nicknamed "The Pope" and reputed
to be "infallible." He receives an incomplete
novel that bears a horrifying resemblance to his own life
story. The opening scene portrays the main character of
said script and conveys how powerful a censor can be: upon
hearing from his secretary the mere title and author of
a manuscript, "Secret Gourmet Dishes from the Convent"
by Sister Carolina, the government censor immediately makes
a judgment: "Now. In these monastic sauces, miss, there
is no malice. No pollution, no aphrodisiacs, only natural
herbs used. 200 copies recycled paper. Next?"
The omnipotent "Pope," however, must now confront
his past deeds brought back by the novel, in which the protagonist
sends his wife into a "Readjustment Centre" for
anti-government remarks. She dies there and their son is
haunted by the loss. As the story unfolds we see two mirrored
lives collide and two sets of characters, played by the
same actors, fade in and out of the picture until fiction
and reality blur together. There is also a mysterious man
representing all of Daniel's fears and perhaps even justice
itself, and a director from a "Moral Resources Company"
working on behalf of the powers that be.
Reader is a timely reflection on censorship by
the authorities that are "controlling every adjective
in the universe with the pretext of saving us from plagues
they made themselves." Daniel, from believing that
"fear is the root of all wisdom" to coming to
terms with his own fears, finds what is really true for
himself in the end.
This piece is as complex as Death and the Maiden,
Dorfman"s best known play, but in a Memento
universe. If I were to nominate ten contemporary plays for
a "most challenging to direct" category, Reader
would probably be on it. Therefore I have great admiration
for the director Ianthe Demos for her intriguing arrangement
and presentation of the flashbacks, illusions, and other
inner thoughts Dorfman has laid out for "The Pope."
All the actors deliver their double, sometimes triple, roles
with great flair. Lighting design by Mike Riggs and set
design by James Hunting deserve special praise for the arousing
visual power they inject into the performance.
In the end, what I enjoyed most were the words by Dorfman.
Witty and piercing, the mental landscape of the censor —
someone who is in charge of the life of words himself —
is depicted so intricately that a reading of the play is
highly recommended. This is a puzzle that, once invested
with careful examination and rumination, will reveal its
elaborate and amazing design.
|
