@ Hidden Door, Edinburgh, until Sun 29 May 2016
Ludens Ensemble have teamed up with the European Capital of Culture Pafos 2017 to produce two theatrical plays. One, Macbeth: without words, was performed at Hidden Door in 2015. The other, Ubu Roi, is premiering as a work-in-progress at the festival this year.
The two plays complement each other perfectly. Ubu Roi parodies Macbeth’s bloody ascent to power in a fast-paced and at times completely surreal comedy. Originally written by Alfred Jarry, it debuted in Paris in 1896 and was closed on the same day when the audience rioted. Ludens Ensemble have done well to bring this wild piece into the 21st century. As with traditional carnivalesque, fools become kings and puppets become people. This cast goes one step further though to show how digital media can transform real people into manipulated images on a screen – for some, today’s version of puppetry. This use of multimedia is certainly thought-provoking. It makes an unconventional play feel even more experimental – what happens when we introduce live video to a sham trial for puppets? What does a microphone add to the ruckus onstage?
The team’s interpretation of the objects they use is nothing short of brilliant. Jenga for food, a hoover for a sword, a suitcase for an assassin – all make sure that the action is as unpredictable as its 19th-century predecessor. The actors playing multiple characters adds to this, and they have clearly planned out their physicalities well enough that none of the roles get confused in the mayhem. Persefoni Gerangelou especially excels at this. Be it Billikins, puppeteer, or anonymous messenger, Gerangelou embodies each character with real comic flair.
At times the performance feels a little rushed, but this will no doubt improve with practice. The cast are clearly enjoying themselves, even throwing in some well-timed ad-libs that add to the havoc. This version of Ubu Roi shows real energy and imagination and makes an entertaining addition to contemporary farce.