Can't do that here! So utterly delightful!
From the moment it begins you know this is worth watching, that it is about the 'whole ball of wax'! And it never stops being inventive, surprising and delightful.
Dressed by his/her good-cop/bad-cop mom, in father's white shirt, armed with symbolic signifier/ de-individualizing/ masking headgear and rifle, a little boy (or girl) is ritually terrorized by solicitous mother, then drill sargent through parade ground, Abu Ghraib by peers/guards/comrades and lovers, and to the bedroom with repetitive configurations concocted from the chants of the film Full Metal Jacket.
How could New Yorkers tolerate this irreverance? Remember Manhattan Theatre Club couldn't handle Rachel Corrie for lack of appropriate contextualization! And here Buffard adroitly kicks the whole fantasy of militarization, sex and power in the teeth.
Religion, love, and the other repetitive drills of human life speed by culminating in what feels like our current orgy of post-capitalist self-congratulation, paradoxical and pleasureless lust, set to Three Penny Opera's The Canons Song.
There is a great deal more delightful and very humorous invention: when a dancer/counter-tenor—submerged under a pile of clothes—bursts out with a moving tendre plainte, Rameau's aria from Dardanus. "You don't scare me monster! Because I've been in love!" is accompanied by a gamin on the accordion and certainly captured this baroquex' heart!
I don't think it shares Brecht's facetiously happy ending. But then we don't, do we?
Mainstream reviewers (those with jobs and bosses to ...) will no doubt have trouble with this ponderously political piece. The sheer joyful exuberance of this project is far too human, intelligent and confident in its irony and cynicism to be compatible with their masters' current program of social "recovery."
So,"Strikers! Get back to work! Students stop thinking!
And hamsters, back on your exercise wheels!
And be happy with what your told!"
Seen October 13 Festival d'Automne: Tout Va Bien
Can't do that here! So utterly delightful!
From the moment it begins you know this is worth watching, that it is about the 'whole ball of wax'! And it never stops being inventive, surprising and delightful.
Dressed by his/her good-cop/bad-cop mom, in father's white shirt, armed with symbolic signifier/ de-individualizing/ masking headgear and rifle, a little boy (or girl) is ritually terrorized by solicitous mother, then drill sargent through parade ground, Abu Ghraib by peers/guards/comrades and lovers, and to the bedroom with repetitive configurations concocted from the chants of the film Full Metal Jacket.
Dressed by his/her good-cop/bad-cop mom, in father's white shirt, armed with symbolic signifier/ de-individualizing/ masking headgear and rifle, a little boy (or girl) is ritually terrorized by solicitous mother, then drill sargent through parade ground, Abu Ghraib by peers/guards/comrades and lovers, and to the bedroom with repetitive configurations concocted from the chants of the film Full Metal Jacket.
How could New Yorkers tolerate this irreverance? Remember Manhattan Theatre Club couldn't handle Rachel Corrie for lack of appropriate contextualization! And here Buffard adroitly kicks the whole fantasy of militarization, sex and power in the teeth.
Religion, love, and the other repetitive drills of human life speed by culminating in what feels like our current orgy of post-capitalist self-congratulation, paradoxical and pleasureless lust, set to Three Penny Opera's The Canons Song.
I don't think it shares Brecht's facetiously happy ending. But then we don't, do we?
Mainstream reviewers (those with jobs and bosses to ...) will no doubt have trouble with this ponderously political piece. The sheer joyful exuberance of this project is far too human, intelligent and confident in its irony and cynicism to be compatible with their masters' current program of social "recovery."
And hamsters, back on your exercise wheels! 
