Berkoff described Sink the Belgrano! At its best, this kind of theatre is so powerful, so visceral, that it forces audiences to react: either they feel like fleeing the building or they are suddenly convinced that it is the best thing they have ever seen and want all their friends to see it too. It is the kind of theatre that inspires us to use superlatives, whether in praise or condemnation. Berkoff has stated that he accepts roles in Hollywood only to subsidise his theatre work, and that he regards many of the films in which he has appeared as lacking artistic merit.
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Joan Collins emerges with the greatest credit in a role well suited to her talents. Unforgettable moment Linda Marlowe imagining a fox hunt pretending her lover is her horse. Played by Berkoff and the excellent Linda Marlowe, they are grotesque, mechanised caricatures all twitching limbs and ravenous carnal appetites.
A piece of roller-coasting invention Its two central characters are a couple of razor-happy randy tearaways of almost total moral repellence and absolute physical charm Berkoff razzle-dazzles their lifestyle in a tumult of imagery; the language flashes from Shakespearean parody to the shatteringly profane Daily Mail.
The verse plays East , Greek and West share the same atmosphere of poetic violence and excitement. Decadence saw the form expanded as a further level of sophistication entered. Other plays in verse are Sink the Belgrano! I identified strongly with his dream-like stories and his acute perception of detail, detail that is not ordinary and programmed, the detail of life below the frustrations".
Meditations on Metamorphosis was published as production journal by Berkoff.
Greek – review