BY THE CRIT­ICS Zom­bie cir­cus to stum­ble into town Rus­sian opera to per­form Rigo­letto

Yorkshire Post - Culture & The Guide - - STAGE -

do it and trust what Kane is say­ing with the script.”

There are three char­ac­ters in Blasted, Ian, a jour­nal­ist for a York­shire news­pa­per, Cate, a young woman who ap­pears to be in some sort of re­la­tion­ship with Ian. They are in a ho­tel room in Leeds when, at an au­da­cious point in the script, the walls are blown off and a sol­dier en­ters the room. They are then in a war-torn coun­try and the sol­dier en­ters the fray.

Mar­quez says: “It’s re­ally dif­fi­cult to ex­plain it to peo­ple, which is why the pro­gramme seems so vague – it says some­thing like ‘a man and a woman are in a ho­tel room, sud­denly there is a knock at the door and their world turns up­side down’.” Which is, es­sen­tially, what hap­pens. But what about the other stuff, the vi­o­lence that made some peo­ple phys­i­cally retch and many more leave the theatre on the play’s de­but?

“She wanted to write a play about rape, which is what she was do­ing, but then she be­came af­fected by the war in Croa­tia and wanted to ad­dress that,” he says. “So she did the thing that I think all great artists do and she ex­per­i­mented with the form and used a dra­matic de­vice that hadn’t been seen be­fore. She kept the char­ac­ters in the same time frame but just moved the lo­ca­tions.

“It al­lowed her to talk about some of the hor­rific things that hap­pen in the world, both in the world around us and in places that we think are un­con­nected to us, that we don’t have to face ev­ery day.”

Since its ini­tial crit­i­cal maul­ing, Blasted has been re­vis­ited, restaged and many opin­ions have been re­vised – not least the opin­ion of what Kane was do­ing with the play. The first draft was some­thing of a beast and it was whit­tled over sev­eral years un­til she had a script that was more white space than black lines on the page.

Wil­son says: “Yes, she is com­ment­ing on the rape camps of Sre­brenica and the vi­o­lence that hap­pens around the world that we don’t have in our faces ev­ery day. For me one of the most fas­ci­nat­ing as­pects of the play is the re­la­tion­ship be­tween Ian and Cate and what ex­actly is hap­pen­ing there (it re­mains am­bigu­ous).” Sim­i­larly, Mar­quez thinks there is much be­low the vi­o­lence. “It’s about how there can be love some­times in the most bru­tal of sit­u­a­tions. It’s about a lot of things.”

There is one fi­nal ques­tion, about which there is no coy­ness. I ask it of Mar­quez.

Is it a feast of filth or a work of ge­nius? “Work of ge­nius. No ques­tion.” THE Cir­cus of Hor­rors is head­ing to York­shire’s east coast.

Night of the Zom­bie is set in Lon­don, 2020, which is plagued by zom­bies and bizarre cir­cus acts are ruled by the un­dead.

The show in­cludes sword swal­low­ers, knife throw­ers, dare­devil bal­anc­ing acts, fire lim­bo­ing ac­ro­bats and a flam­ing apoca­lypse.

The show has al­ready ap­peared on TV in­clud­ing X Fac­tor and The One Show – and also along­side Rob­bie Wil­liams.

You can see the show at Scarborough Spa on March 17. For tick­ets call the box of­fice on 01723 821888. A RARELY-PER­FORMED op­er­atic master­piece is set for the re­gion.

Verdi’s opera Rigo­letto is a tragic tale of mis­un­der­stand­ing, re­venge and sac­ri­fice.

This vis­ually stunning new pro­duc­tion has a live orches­tra of over 30 mu­si­cians and is brought to you by the Rus­sian State Ballet and Opera House, who have been pre­sent­ing ballet and op­eras to au­di­ences for over 13 years.

Rigo­letto will be per­formed at Vic­to­ria Theatre in Hal­i­fax on Fe­bru­ary 28.

For tick­ets call the box of­fice on 01422 351158.



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