RED

DOUBLE BILL

November 22-26, 2017

Teatro do Bairro, Lisboa

Cast & Crew

Simone, a merchant Daniel Cotterall

Bianca, his wife Allie Mazon

Guido Bardi, a prince of Florence Diogo Velez

Direction, set design and production Tania Kumeda and Suresh Nampuri

Sound Pedro Moura and Goncalo Romao |Video & Photo Helena Gokotta, Catarina Alma Takver

Production assistants Daniel Rooney and Nicole Hutcheson

A FLORENTINE TRAGEDY

Inspired by Oscar Wilde

A STORY OF CHOICE, PASSION AND CRIME

Is all this mighty world
Narrowed into the confines of this room
With but three souls for poor inhabitants?

Wine merely is it? I have heard it said 
When wine is spilt blood is spilt also,
But that’s a foolish tale.

A FLORENTINE TRAGEDY|BACKSTAGE

Oscar Wilde´s pithy theatrical fragment, A FLORENTINE TRAGEDY, begins with Simone, a merchant who peddles embroidered cloth to the nobility in 16th century Florence, returning home one evening to stumble upon the beginnings of an affair between his neglected wife, Bianca, and Guido, the callow prince of the realm. The dramatic action focuses on the slow-burning rage that is stirred in Simone: disgust at the crass entitlement of his social betters, and irritation with the unloved loneliness of his wife, trapped in a dysfunctional marriage. In a universe shrunk to a single room, these three people spin their scarlet-stained futures on the fatigued loom of destiny, until violence surges as the only possible path to redemption or damnation.

The veiled menace of a bruised, embattled man, who sees his woman being snatched away in an act of moral thievery; the amoral ruthlessness of the wife who basks in the warm glow of appreciation from a stranger for the first time; and the infuriating fecklessness of the stranger who invites himself into another´s heart render this play a masterclass of self-contained characterization and cunning dialogue. Wilde’s sharp lyricism underpins a study of the moral calculus of human beings chained to their own private realms, and expresses the beauty of what it means to be human – the readiness to sacrifice life itself for a moment of pure catharsis.

The Bear by Anton Chekhov

A Duel in One-Act

Cast & Crew

Grigoriy SMIRNOV  Daniel COTTERAL

Helena POPOVA Margarida ROCHA E MELO

Luka  Rui VASCO

Direction, set design and production Tania KUMEDA and Suresh NAMPURI

Sound Pedro Moura and Goncalo Romao

Video and Photo Helena Gokotta and Catarina Alma Takver

Production assistants Daniel Rooney and Nicole Hutcheson

In the course of his life HE has seen more women than she has seen sparrows.
SHE shall be faithful to her departed husband to the grave.

THE BEAR|BACKSTAGE

Written in 1888, The Bear is a provocative and passionate theatrical joke.
The plot revolves around Smirnov, a fiscally straitened landowner with all the finesse of a smoking blunderbuss, making a desperate but futile round of his debtors to raise money to pay off his creditors. Antipathy towards the fairer sex makes him delay going to see a woman debtor, the recently widowed and mourning Popova, till the very last hour, and as a last resort. When Smirnov forces his way into her house, his boorish temperament and her sense of melodramatic suffering result in a explosion of long suppressed grudges against the opposite sex. The ensuing hysterical clash of personalities climaxes in a challenge to a duel, unexpectedly leading to one of the most tender love scenes in a Chekhov story. The monologues rank with the best of The Seagull, and the deep-rooted disgruntlement is as lethal as in Uncle Vanya.

ANTON CHEKHOV AND STAGE STORY
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