Showing @ Traverse Theatre, Edinburgh, Mon 4 Feb only
In this wordless retelling of the Bluebeard myth, director Anna Ivanova and her all-female cast demonstrate the power of visual theatre. The tale of the murderous, aristocrat groom and his naive young bride is a familiar allegory, but here the simple yet inventive staging imbues it with a new strength.
For the majority of the production, the bride is the only visible performer, with other characters represented by clothing manipulated by the remaining cast. It is the audience’s task to visualise the man who inhabits the seductive suit. This device ensures viewers journey along with the young heroine as, taunted by the spectral chemises of lovers past, her imagination takes over and she succumbs to the grip of growing paranoia.
Technical details also play a major role; tension is heightened by a mundane yet menacing soundtrack of ticking clocks, dripping water and unintelligible whispers. Clever lighting means the animated clothing often appears illuminated from within. In one particularly striking sequence, the bride frantically resists a carnally red garment which tries to force itself on her, whilst in the spotlight behind her a faceless woman in similar garb brokenly attempts a grotesque dance of seduction. Like the lipstick stains which won’t rub out, To the End of Love leaves a similarly indelible mark on its viewers.
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