A hostage to fortune, class and his sadistic superiors, Woyzeck's fate is played out in a series of nightmarish encounters. He stumbles through a world of macabre carnival, sexual betrayal and cruel oppression, pursued by the demons of his own paranoid fantasies. Pushed beyond breaking point, Woyzeck's last love-crazed act tragically destroys the only thing he truly cares for.
Sounds deep, no? With a play so layered with meaning, it would be easy for any company to mess it up. Luckily for me, Vesturport knows. Firstly, I have to mention the music; this was a semi-musical with new music and lyrics having been written by Nick Cave and Warren Ellis of The Bad Seeds. It was really superb. Every song worked both lyrically and stylistically. It was really a cool achievement. Also on the aesthetic front, the set was amazing. There were two levels, a la the Greek stage, both covered in grass and a crazy tangle of metal ducts and pipework upstage with people crawling around. Then, at one point, the outer surround of the higher level was removed to reveal the glass-enclosed POOL underneath. SOOOO much water imagery. As Marie went about her first act of sexual betrayal, in the pool, a chorus sang and the water bubbled. I've never seen something so sexually charged and emotionally riveting on stage. Also, while they consummated their affair, flowers fell from the ceiling and stuck into the stage, staying straight up and the water shot into the air in spurts-uh huh. Speaking of the affair, I should mention his entrance, which came via the ceiling, on bungee cables while singing a rock anthem. About half-way through the song, many people in the audience stood up and sang, as they were of course, his back-up singers.
At the end, for those of you wondering, Woyzeck has finally gone slightly mad (or has he?) and Marie must die. In the real-life story, he stabs her several times but in the play, he drowns her. The final act had been so expertly foreshadowed that when it finally happened, it was not really shocking but sort-of beautiful and cathartic. The genius of German expressionism is that it forces the audience into the head of the main character. In this case, when the time finally came, it felt, for the audience like a giant release; what we'd been waiting for. Throughout much of the play, Woyzeck and Marie had interacted with the water. It became almost home. Woyzeck, when spying on her, swam back and forth in the skinny tank while stripping down to his briefs. Emotional rawness/animal instincts played out with physical near-nakedness. Finally, nudity (while not complete) that wasn't gratuitous. The image that stays in my mind is not the final image as would be expected with both Marie and Woyzeck, having taken his own life, floating in the red-lit water but rather, the image I keep is from a few minutes before. Woyzeck is beat to a pulp by Marie's lover and left lying. The icon was so specific. For a brief moment, nothing happened and the audience was confronted with the image of a very strong man, soaking wet, naked to the world but for his briefs, lying defeated on the perfect green grass of his home. C'est magnifique!
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