<< -- 4 -- Roderic Dunnett Swashbuckling parody
Not all the cavorting was equally successful, mainly because the clarity
of the advertisements was increasingly lost, as if ideas were becoming played
out, old-hat or overworked. What was successful, however, was the
way Kovalik maintained the momentum, with scenes folded skilfully -- and
from the visual point of view, wittily -- into one another, amid a splay
of garish proscenium and follow-spot colours, and -- even to a non-Hungarian
speaker -- the obvious pithiness and singability of Dániel Varró's
new translation of Davies's libretto, which seemed to graft Hungarian easily,
naturally, seamlessly (and -- crucially -- extremely funnily) onto
the composer's certainly ludicrous, and often hilarious, English doggerel
This is the era of Berg and Weill seen, in European terms, through the
prism of the Thatcher-Kohl-Mitterrand decade (it seems extraordinary that
after its 1988 Darmstadt première Resurrection was not spotted
and widely snapped up as a vehicle of hard-hitting Aristophanic satire).
Some of Davies's specific targets may now seem dated, much as 1920s satire,
which inspired it, has lost some of its cutting edge; but neither has lost
its underlying relevance, or the spicy barbs and enjoyable overlarding of
its brand of over-the-top satire. In an era of universal hyperbole, Resurrection's
brash overstatement and swashbuckling parody may seem all the more timely
to a modern audience. Certainly the Budapest theatre audience rose to the
occasion, and Kovalik, Kesselyák, the enterprising producer and controlling
force behind the scenes, Krisztián Kolesár, cast, orchestra
and design team were jocularly applauded.
Copyright © 20 January 2002
Roderic Dunnett, Coventry, UK
A REVIEW OF 'MR EMMET TAKES A WALK'
A REVIEW OF 'THE TURN OF THE TIDE'
THE MAXWELL DAVIES WEBSITE
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