The digital magazine of New York indie theater
Loading

The Eisteddfod

nytheatre.com review by Debbie Hoodiman
August 15, 2005

First off, because most Americans (myself included) have probably not heard the term, it’s important to note that eisteddfod is, as defined in the program, “pretty much a Welsh word for 'Talent Show'.” Stuck Pigs Squealing Theatre’s production, The Eisteddfod, directed with wonderful detail by Chris Kohn, is about a brother and sister competing in an eisteddfod for the chance to win a one-way ticket to Moscow. Well, it’s sort of about that.At the beginning of the show, playwright Lally Katz, in a voiceover, explains the basic premises of the show: A brother and sister, Abalone and Gerture, lost both of their parents and they live together in a room. This information is presented comically, sort of in tableaux, and set to childlike music credited to Patience and Prudence. It soon becomes clear that Abalone and Gerture act out scenes together (as children do) and much of the play consists of their child’s play, their relating to one another through games and different characters. Sometimes, Abalone plays a character named “Ian,” Gerture’s very aggressive boyfriend who doesn’t love her anymore. Sometimes, Abalone and Gerture play their parents. Sometimes, Gerture is a teacher and Abalone is not invited into her classroom. Sometimes, they rehearse scenes together from Macbeth for the eisteddfod. The actors also have solo performances (monologues and even a song) in which they explore recurring themes.All of the action takes place on a tiny platform decorated like a bedroom with a very small mattress, an old radio, a small table lamp, and an overhead light. The tiny set is like a small desert island where the siblings are stranded. There is a lot of empty space around them that goes almost completely unused. The sound design (Jethro Woodward) is very interesting. At some parts, the actors’ voices echo. Sometimes, the radio comes on or there are sound effects. The lighting (Richard Vabre) is also very interesting.I can’t really come to a neat conclusion of what the play says or what it’s about, though some of the themes are pretty clear, especially the theme of Macbeth’s ambition and the theme of Gerture exploring her sexuality and role in a somewhat stereotypical male-female relationship. During the play, I found myself wondering about the characters’ ages, what was true and what was fantasy, and how some of it fit together.Despite some of my confusion, however, I would not say The Eisteddfod is unsuccessful. Although some of the play’s scenarios are bizarre, I never felt alienated as an audience member. The material, if a little weird and a little confusing, is intriguing, original, and risky. The actors, Luke Mullins and Jessamy Dyer, are impressively committed and focused and create a believable reality. Even if I didn’t understand everything, it was worth watching the play for their wonderful, detailed performances. All of the design is top-notch. In some ways, this is a perfect FringeNYC show.