Electric Messiah – 2022 edition

This was the seventh time I’ve seen Soundstream’s Electric Messiah.  It’s different every time of course but some things stay, more or less, as features.  The biggest change this year is the shift from the Drake Underground to Crow’s Theatre.  It’s staged as a conventional proscenium arch type show with the audience sitting in tiered rows facing the stage rather than being set up night club style.  There’s no bar in the actual performance space but you can still take a drink to your seat.  The drinks are cheaper than at the Drake too!

Electric Messiah

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Hell is oneself

No Exit 2Last night I attended Soup Can Theatre’s double bill of Barber’s A Hand of Bridge followed by Jean-Paul Sartre’s No Exit; an English translation by Stuart Gilbert, of his 1944 play Huis Clos.  The latter is a piece I’ve seen before and read in both English and French and I would never have imagined it could be presented as it was last night.  It’s a play about three people who find themselves in a room in Hell together.  They will be there for eternity, an eternal triangle I suppose, for they have been especially selected to get on each others’ nerves by continually reminding each character of that aspect of their former lives that they find least admirable.  I have always seen it as an incredibly bleak play as befits one that premiered in Paris in the last months of the German occupation.  I would never have imagined it as a comedy; albeit a dark one, but that’s what director Sarah Thorpe gave us.  Continue reading