Fringe reviews: Oedipus at FDR, Pichet Klunchun and Myself, Ballad Boys, Stuporwoman, Vampire Lesbians of Sodom, Geografia intima

September 05, 2008

Oedipus at FDR. Fires crackle and blaze out of trash cans. We're sitting on the ground in a concrete bowl under I-95, with music (the endlessly brilliant James Sugg) throbbing into our brains through earphones. Trucks rumble overhead. Emmanuelle Delpech-Ramey found this astonishing venue, conceived and directed this thrilling version of the myth of Oedipus at Colonus (written by Suli Holum) and assembled a fine and diverse cast, including a chorus of skateboarders.

Blind, exiled, wandering the world, Oedipus (Pearce Bunting) has finally arrived at the end of his journey; he says, "The laws of physics, like fate, followed me." A skateboarder stands at the top of a graffiti-covered concrete cliff and says, "One slip and you lose the edge." Questions linger in the smoky air: Is Oedipus talking about his own destruction or about skateboarding? Is the skateboarder talking about physical risk or mythic inevitability?

Story continues below.

While all the dreadful events happen, as they must, Theseus (Mikaal Sulaiman) stands firm, protecting Oedipus even after arrogant Creon (Brian Osborne) arrives on a motorcycle and captures Oedipus' daughters/sisters, Antigone (Corinna Burns) and Ismene (Hinako Arao). And even after Polyneices (James ljames) arrives to beg for the throne. Through it all, the chorus whizzes, rolls and roars around. The soundscape rivals the landscape for a cool beyond saying. If only everybody could see this one.       - Toby Zinman

Sold out. 7 and tomorrow at FDR Park; transportation provided from 119 Arch St.

Pichet Klunchun and Myself. At Thursday's opening at the Arts Bank, Thai dancer/choreographer Pichet Klunchen and French dancer/choreographer Jérôme Bel faced each other across the stage. Klunchun, an adept of Khon - traditional Thai dance - lobbed answers to Bel's incessant questions sincerely and succinctly, establishing an ever-more-ludicrous dialogue.

Bel assumed the role of a French nerd, droll and earnest, yet elegant and intelligent in this combination interview and lecture-demonstration, urging Klunchun to show the Khon technique. Klunchun performed what dancing there was, ultimately explaining that the movements represented architecture.

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