Paulina Salis, the protagonist and played brilliantly by Thandie Newton becomes convinced that the kindly stranger who helps her husband with a flat tyre is actually the Doctor who observed torture and raped Salis when she was previously imprisoned as a political prisoner some time ago.
What is most interesting and works, I believe wonderfully, is that we are never given the name of the country the play is set in. And with such injustice, there are secrets and lies, delusions and confusion of what happened. Did this Doctor who apparently was a kindly soul, helping his fellow citizen, a gentleman, part-take in this abuse?
Was Paulina Salis damaged so severely by the abuse and torture to her as a political prisoner that she projects this vengeance onto a man who may be an innocent victim? I can understand that this is not to every audience members taste. The final scene itself was abrupt and confusing, but why have all questions answered, all resolved?
As it began to tour the UK and Ireland it picked up even more momentum and some great reviews as well as sold out nights in the venues they were touring. This kind of hype can sometimes be a great publicist or an excellent production office, would there be any substance? So, I waited in the Jackson Lane Theatre on the tours final night to find out…. And what a delight! I split my sides with laughter and was enthralled and mesmerised by the talents of the three protagonists on stage.
This play is a simple tale in truth but executed brilliantly with some hilarious and perfectly timed comedy. Comedy drives this production, and at first it feels a little awkward, a little hammy but then the audience falls in love with the nature of the comedy and literally goes for the ride as audience participation begins…but again this is done wonderfully well and kudos again to the actors for making this entertaining as well as tasteful. The Blue Elephant Theatre is a remarkable venue, small, unique and charming.
The production itself is atmospheric, placing a lingering feel onto the audience member. Emphasised by the carefully choreographed movements by the actors against the smoke that filters as if ghost-like into several scenes.
As a play though, this story though failed to move me. I tried and failed to believe the passion of the love between Don Carlos and Elizabeth. The bar is not only owned by her, it is named after her and the audience quickly realizes there is something exceptional about her and her establishment.
Grove conveys the haughty disdain that his powerful woman has of her regulars with a self assuredness that would leave the landlords of the Queen Vic quite stunned. It is a play about power and territory, but also about exposure and shame and the male actors have to be as brave as their female counterparts in what they are prepared to show to the audience. He manages to fuse seamlessly reality and fantasy.
Perhaps unsurprisingly McQuade won best director from The Fringe Report as this review went to press. Is this a feminist play challenging notions of patriarchal masculinity and the machismo of the superstuds? Does La Chunga help Meche to escape her likely fate due to sudden feelings of sisterly solidarity? Or is it really about the anguish of unfulfilled love and erotic desire?
Might it be about what women must do to survive in a world ruled by men and their fantasies? It is a fine production that leaves you with more questions than answers and is satisfyinglydissatisfying with performances as electric as any you will see on the London stage at present.
The jewel speech is perfectly and movingly delivered by Patrick W Doherty who is an impressive Herod, an all powerful, volatile hedonist and libertine with the soul of a poet. He is well matched by the very beautiful Nika Khitrova as Salome, an imperious sex kitten who shows her obsession for the prophet Jokanaan Corin Rhys Jones with a kind of ice cold passion Read the full Review by Aline Waites for remotegoat. Set in a fetish nightclub, against a backdrop of metal chains and soft gothic pornography, the plot centres on the princess Salome, seductively portrayed by Nika Khitrova, and her lusting stepfather King Herod Patrick W Doherty , whose desires and unrequited passions for one another results in a tragic and explosive climax in the form of an eerily realistic severed head Leading actor Patrick W Doherty is particularly effective as Herod, exploding onto the stage in the second half to provide some well-balanced humour that compliments and softens the sexual impact of the play.
Overall a daring and adventurous production, for which the cast and company are to be commended, but think twice about taking your mother.
Above all of this stands Patrick Doherty as Herod. A tour de force performance that to describe him as comical, tragic, desperate and worthy of our deepest sympathy is to go nowhere close. Doherty effortlessly combines moments of comic genius and self-pitying sensitivity with more than a nod to Wilde himself.
As he launches into his final closing monologue, so close to the audience one can glimpse the level of despair into which he has sunk, one is reminded that here is a man of mere flesh and blood, deeply imperfect, truly human.
Read the full review by Mark Lowe on myvillage. The second half welcomes the introduction of Herod played fantastically by Patrick Doherty, he gave this character great quirks and put a much needed kick into the flagging energy of the play. John holds a BA in Theatre from Pacific University, and in addition to designing, he has also acted, stage managed and directed, with his most recent directing project being the Portland Christmas Revels.
When not involved in a theatrical project, John enjoys working on his farmhouse, and spending time with his wife Lesa, and their three cats. Locher scholarship in to support directing and writing work on The Dream. She has spent the last two summers directing a theatre camp for adolescents in Lake Oswego, and will begin graduate study in Directing and Theatre Criticism at Stanford University in the fall.
Enrique E. When Enrique is not interpreting in court he spends his time as a local actor on stage and screen and as Voice Over talent. Enrique has been a Milagro MainStage actor since and considers Milagro as his artistic home. She wrote, produced, and directed two puppetry productions: an original adaptation of Life is a Dream, and Pearl and the Five-Headed Dragon. Sarah is a theatre artist who puts her soul into her work and looks forward to exploring the creative possibilities the future has in store.
He also enjoys directing and writing about the theatre. Cindy is originally from a small town in Yakima Washington. Cindy has also taken on behind the scene roles as an assistant set designer, director, and prop master. This is her first year touring with Teatro Milagro and she is looking forward to the new adventure. He has also played various roles in classical Greek and Shakespearean theatre.
He founded and was artistic director of Arouet in Seattle from — Robi has performed, toured, and lead workshops in Mexico, Venezuela, Puerto Rico, and several cities the U. His work is diverse, created through fusion of styles fueled by social justice and change. His passion is to create a physical, dynamic and poetic theatre that connects with people as sports connect with fans. We Won't Pay!
Enrico appearing in his third Miracle production. Enrique is a graduate of the University of Oregon where he received a B. Enrique wants to especially thank his wife and daughter for supporting him and letting him off the hook for not mowing the lawn and pulling the wagon.
Jed has also written for and acted in numerous sketch comedy shows and has been performing improv comedy for close to 20 years with groups such as Whiskey Tango, Arkley and McLendon, and J Names. He is a co-founder and producer of The Stumptown Improv Festival, which is now entering its fifth year. His year-old daughter is pretty much the best.
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