Devdariani's Valentino: Beyond the Frame
TEAHOUSE THEATRE
Camellias, so precious, so delicate, so vivacious. Giles Guillain graciously put a vase of flowers on my table, before I realised the epic performance he was about to give, in a space of no more than 4 x 4 metres at most, transforming this into his psychic brain cavity - his raw consciousness between the worlds we all inhabit - but mostly out of tangible reach.
Supper comes with a cat in the Teahouse Theatre. A new venue for me behind the low thunder of the tube on the Victoria line, behind the grim urinals outside Vauxhall station. I arrived before sunset, and the shadows gradually crept into this enticing complex of facades, plenty of eye candy to engage with before the main menu.
Across the floor from me a long table, akin to the Mad Hatter's, piled high with sumptuous cakes and plates of fruit, with moving characters in slow rotation. VICTORY lies in the KITCHEN, a draped tea towel proclaimed, but on reflection I think not, it may reside in the teapots. Or better still, in the mesmerising magic of Dimitry's pen, which I even sought under one of the imposing bell jars, offering comparable ingredients for the refined palette.
Valentino's life has something of the knowledge of Franz Mesmer, a contemporary of his; the subtle flavour of Pasolini's Teorema; yet also of the passionate asexuality of Lawrence of Arabia. The far-reaching impact of his performances in the era of silent film stands in stark contrast to the inner turbulence he obviously felt, as a unique character on a trajectory cut short before he could ultimately realise the full spectrum of his talents.
… And so with remarkable sensitivity, Devdariani has created a poignant cameo of this iconic actor … a household name rooted in so many hearts, yet so alone in his personal cutting-edge interpretation of gender and relationship. We all struggle to identify what love really is, and how to express ourselves in the theatre of life.
How Guillain manages to flawlessly execute this role is nothing less than a miracle. Emerging clad in the seductive Arab attire from Valentino's final performance, we are riveted by the choreography of his musings, like puffs of steam in the ether. Self-criticism dances parallel with assured self-esteem, as he vocalises for the first time the petals of his personality, still trapped, this time in limbo.
What impressed me most is the candour, the modesty, the tenderness of this character, so masterly drawn out by the playwright. Nothing to lose in Purgatory, all can be exposed. The cosmic mirror is many faceted and must be consulted ingenuously. The makeup is off, the veils ripped away.
This is a drama to serve any era, with archetypal elements at play. Congratulations to all involved!
Ravenna
17/6/23 |
