Europe, piercing, necromancy and all things sanguine.BDSM. Please respond to Box 443.”black horses and thundering through the craggyFriday November 2 2007varsity.co.uk/artsWrite for this section:arts@varsity.co.ukVIEWArts29Gothic LonelyHeartsheThe following was posted recently in the LonelyTHearts section of Practical Gothic Living: “En-igmatic, demonic (in the bedroom), sharply dressed,male seeks bloodthirsty female with a sweet tooth toshare his castle with. Enjoys travelling in EasternCount Dracula received a multitude of replies tothis alluring advert, but one in particular caught hispassionate imagination as he read it over one morn-ing in his cavernous carriage, drawn by behemothicmountainous valley, not far from his home. Theresponse was written on decaying yellow paper in asexy, crawling hand:“Dear Sir,I long to gaze into your brilliant red eyes from mysunken sockets and learn more about your piercinghabits. I am a sinuous, silvery, eye-catching lady ofmature years, in possession of a large manor anda dark heart. I reside amidst the English marshes;my dinner table is permanently set with a mouth-watering banquet which only awaits your feastingmouth to reawaken its former glory. I expect the dia-Beast Of The NightShelleydidn’t fit in with the other Goths.Maybe it was because she had refused tochange her name to Scarred Psyche. Hereyeliner was heavier and her shoes higherthan anyone; she still listened to Slayerand went to the Doom Fuckers gigs likeeveryone else: she just couldn’t help it if shethought James Blunt was…. pleasant. ButRaven Suicide felt like Shelley needed toprove her satanic mettle.They were sitting outside Costcutter, likemost nights, drinking the Strongbow thatEbony Rape had bought with her fake ID,and talked turned to local rumours.“Yeah, so, like, my mum – evil hag – wassaying there’s some big cat or wolf or somethingon the loose,” Rex Gravedigger said,swigging, “Like when they used to see thatshit in Bodmin, panthers and stuff. Butthis one, like, killed something. She tried tostop me leaving the house.”“Oh my god, she’s such a fascist,” Ravensaid, sucking on a Drumstick. Shelleygroaned inwardly.“It’s just some story.” The Goths turnedto stare at her in a flurry of bad hair-extensionsand kohl. Raven did a cider burp.“Jesus fucking Christ, Shelley, who evenare you? You’re so not one of us. You’re sucha fascist.” Shelley sighed.“Are you Shelley Thomas or are youScarred Psyche?”The other young Goths waved theirfringes at her in disapproval.“I don’t even care,” Shelley grimaced, gettingup, “I’m going home.”“Fine you fucking fascist.” Pulling herhair over her eyes, Shelley walked offthrough town. Winter was setting in; thenights had become darker and sharper. Herbreath made tiny puffs that got lost in themist settling over the city. The sky gloweda dull red. Only monolithic towers and thechurch spires rose forcefully through thefug. A lamppost throbbed on the street corner.Turning down an alley for a shortcut,Shelley suddenly heard something. Footsteps?Only her own, she reassured herself,and kept on going. She hummed JamesBlunt guiltily.There it was again. Too soft for feet. Itsounded more like - she looked around.Nothing.Shaking her head, Shelley continuedwalking. The night mist seemed to havefilled up the alley. She felt herself gettingdizzy. Maybe it was just the corset she hadbought a size too small from that one timeshe hadn’t been ID-ed in Ann Summers,but her breathing quickened. She gasped;the mist pressed closer. She wasn’t usuallylike this after three swigs of Strongbow.She tried to take a deep breath. She couldstill see the proud steeple of the cathedralpenetrating the fog, and headed towardsit. She loosened the top three fastenings onher corset. Her skin pricked with sweat.Suddenly, a black shape flitted across hervision. What - ? The sound again. Closerthis time. Shelley whirled around, but foundonly mist. She panted frantically. Her headwhipped side to side trying to locate thepatter. Just mist. She continued walking,quicker this time. Something soft, hairy,brushed against her skin. Shelley screamed,desperately trying to push out of the fog.Something was here. The sound seemedto deafen her, closer, couldn’t see, thingbrushed her skin again, gripped somethingin the dark, a lamppost or was it? Did itjust move? Sweat pouring, couldn’t, just themist, something grabbed her, screaming –The shivering woke her up. How did sheend up on a tombstone outside the cathedral?Shelley wiped her eyes.“Fuck, my eyeliner-” she muttered, check-ing her hand. But it was stainless. Someonehad also meticulously removed her blacknail polish. And taken out her red hairextensions. She looked down.“Why am I wearing a nightdress?!?”Something had changed. Everything abouther felt…different. Older. She glanced upat the steeple rising into the dawn. Sherose, pulling the sleeves of the nightdressdown for warmth – when she saw, on herwrist – clawmarks.Next week, they were back outside Costcutter.Rex had stolen some vodka and waspassing it round.“Yeah, like, the big wolf? It was just somefarmer trying to get money off the papers.”“So obvious. So un-satanic,” Raven gripeddisdainfully, “Some people are such fascists.Yeah, Scarred Psyche?”Scarred Psyche hummed Kate Bush toherself and looked down at the claw markson her wrist.“Yeah,” she said, “such fucking fascists.”Black Swan Obsidianbolic reply of your pulsing heart as I gaze from thisslotted window and pick at a piece of blood-red fruit.Yours with desolate passion,Miss Havisham”Dead on time, Count Dracula pulled on the creak-ing bell of Satis House and took a moment to checkhis teeth in a small fang-shaped pocket mirror. Hewrapped his top-of-the-range silk cashmere mixcloak tight around his gaunt yet toned body andbristled with anticipation as a rancid mist creptaround his ankles. A chill came crawling in throughthe open window and over Miss Havishman as shesat waiting, festooned in rotting lace and silk, hereyes shining with excitement through the noxiousvapour that hung in the room.Count Dracula stepped in, his moist red lipsslowly receding from his glimmering white teethto reveal an erotic grimace. The mice and spidersfeeding amongst the heaps of fetid food were inter-rupted and, picking up on the intimate atmosphere,scampered back into the dusty holes whence theyhad came.Dracula’s ruby-red eyes flashed with ardour asthey beheld the deliciously morbid figure of MissHavisham. Although she was too old to be a decentmarriage prospect, he was a vampire in his primeand she has a certain ‘Mrs Robinson’ charm. Sheherself swooned in rapture at the sight of his crook-ed nose, silky black hair and long, brittle fingernails.They sat down to dinner and gazed longingly acrossthe cantankerous remains of black wedding cake.Eventually they could no longer hold back theimpulse. Blood was pulsating through her heartas she strained her frail and sinewy neck upwardstowards his luscious mouth and he pierced herpapery skin in an instant, his long fingers closingaround her neck.But when the sunless morning light brokethrough the dust-encrusted drapery, her Count, herheart-throb, her piercing lover, was gone. The jiltedMiss Havisham let out a blood-curdling scream thatshowed off the full extent of her new fangs. Despiteher night of passion, she was all alone once more.Camilla Ignatius Ermintrude Temple
30REVIEWArts Editor: George Gristarts@varsity.co.ukFriday November 2 2007varsity.co.uk/artsviewfrom the godsThis week’s theatre promises aclash of three theatrical titans:Albee’s Zoo Story, J. B. Priestley’sAn Inspector Calls and Pinter’sThe Collection. And then there’sFame! The Musical.And ‘Fame! The Musical’ hassold out to the extent that thehapless reviewer I chose to sendalong will have to sit next to hercounterpart for TCS, rather thanbeing able to use the spare pressticket as a thrifty date. I’d rathergo on a hall swap with the firstyearboys from St. John’s. Choosingto go to see a play should bea bit like Blind Date, withoutthe shrill cackles of Cilla Black’swaning television career.An evening with Fame! TheMusical might be termed fun,easy-going, GSOH (questionable),likes: garish costumes, a bitof a sing-song. Looking for someoneof low intelligence, very lowcultural awareness and a desireto be accepted and reassured.J. B. Priestley: patronisingChristian, 60s (79), seeks privilegedpartner to reminisce aboutlife before the Welfare State,likes: the wireless radio, fetishes:having sex with the servants.‘let’s go and seethis play becauseit has intrinsicartistic merit’Pinter would be my first portof call for a date: dour East-Endmanual labourer seeks submissivefemale to make anxious,serve beer (Stella) and receiveblows to the face and upper torso.Likes: beer, power games.Edward Albee might initiallyboast the most charming ofevenings, but this would quicklywear thin as he would startto fuck your mind in a fairlyserious way. The evening kissgoodbye would be a bitterlydisappointing one.Our values have becomeskewed. At what point did someonesay: let’s go to see this playbecause it has intrinsic artisticmerit? We decide to watch afilm because it has an attractiveactor (hence the careers ofJennifer Lopez, Brittany Spears,Ben Affleck, Daniel Zeichner),why shouldn’t we go to see a playbased upon whom is the mostattractive author?In purely aesthetic terms,Edward Albee would be theone I’d most like to have sexwith, followed by Pinter (out ofrespect) followed by Priestley(out of sympathy), followed lastand-most-certainly-least,thefatso writer of the irritatinglypunctuatedFame! The MusicalAlan Parker. On the basis of avery distinguished moustache, goto Zoo Story.Orlando ReadeCigarettes andChocolateCorpusPlayroomDir: Fran Whitlum-CooperTheatre★★★★★Mr KolpertADCTheatre★★★★★Awarding stars in an attemptto evaluate a work is an essentiallyflawed system. An audiencecould flee a show deeplydissatisfied but with few distinctcriticisms, or converselyone may find stellar scoringentertainment in a pile oftheatrical piffle. Like trying toplot a poem across a graph ordigest a restaurant ChristmasLunch into a series of marksout of ten – does the averagedip when one measures thebrussell sprouts against roastpotatoes, and how could onetake into account the criticallimbo that is stuffing? MrKolpert perhaps exemplifiedthis problem. One left thetheatre slightly uninterestedand simultaneously shellshocked,both severely amusedand a bit sickened.The story is a fusion of blackcomedy and blacker tragedy– the bored young couple Ralfand Sarah invite their boringfriends Edith and Bastianfor a take-away-menu dinnerparty. What begins as anunappealing joke over a deadbody hidden within the corner’soversized trunk descendsinto a mess of nudity, madnessand murder.Ralf and Edith were themost engaging performers, theformer sliding from detachmentto dejection, the latterfrom timidity into hysteria,and both skilfully maintainingpersonalities on the brink ofimplosion. Bastian’s oscillationsbetween stiff formalityand spontaneous fury werealways comic if never quitecredible, and Sarah played adifficult mediating role with ahesitant appeal. Some extrasturn up in various later stagesof mortality and nakedness.The action unfolds across aIt would be unfair to say that,written for radio in 1988 (beforeMartin but after Geldof)anti-yuppie political consciousnessand the desire to “adopt aVietnamese baby outside theUffizi” hit Anthony Minghella.This truly excellent productioncharts the moral and emotionalawakening of Gemma, NorthLondonite, whose response to thebright light of an Italian holidayshone on her disjointed relationshipsis to stop speaking.Played with restraint byAmy Watson, harrowing inher framing monologues, herconstant presence onstageprovides the sounding boardfor equally ruptured andtroubled confessions fromfriends and lovers. American(of course) Rob, pitch-perfectlyneurotic Jared Greene, funnelshis intelligence into violentresentment of moral guilt andpromiscuous sex. His escape toItaly, a beautiful flat, fresh air,is rendered trite and unfulfillingby his retelling of them. Heis partnered by the emotionalpygmy Lorna (Ellie Ross),Dir: Jeff Jamessparse vision of middle-class,suburban domesticity – populatedwith unrewarding professions,un-successful affairs andunder-decorated living rooms.This bleak scene supportedthe well-directed physicalityof the play, balancing lethargyand violence to keep the anticperformers engaging.Ultimately the criticismis a lack of consistency: thepersonalities did not shiftbetween the comic andthe sinister withcomfort. Occasionaluncertaintyover lines,unconvincingrelationships,orslips out ofcharacter,disruptedthemeasuredcollapsefrom tartnormalityintobitterchaos. Theperformancedidnot sustainthe gradualsense of communalstrangulationthatwould have givenfoundation to thechoked epiphany whichRICHARD GARDNERconcluded the play. A shamereally, for weaved throughoutthe hour there were momentsof terrifying humour and tragichonesty. Five star peaks on atwo star plateau.Monty Staggbetrayed by family suicide, leftas Minghella’s least attractivevictim of the emotionalanesthetic of money. Highfalutin’Gail, played with knowingwarmth by Greer Dale-Foulkes, has her stable sexualmaturity and desire exposed asbuilt on loss and the insecureflip side of middle class affluence:expectation and fear.Atop superb performances,it is context which rendersit only half right. Cigarettesand Chocolate engages withthe emotional as the political,which irritated me. Gemma’stumultuous interior is expressedin politicised acts,such as feeding a tramp. It isan ideology of guilt, followedby brooding self-involvement.There is nothing morally wrongwith this, particularly not ifyou were writing in 1988. ButI couldn’t watch Live 8. Atthe core is a worthy but tiredliberal guilt that isn’t attractivewhen juxtaposed with depressionand self-doubt, no matterhow well it is rendered.It is equally Minghella’sJames and the Giant PeachADCTheatre★★★★★Oli Robinson’s James and theGiant Peach felt like watchinga surreal blend of musical,pantomime and children’s TVprogramme. This is after all afantastical story, and a kitschset, brash lighting, cartoonishcostumes and ‘larger-than-life’characters were the order ofthe day. Indeed, this isn’t a playaimedat the age group which makesup the majority of the studentbody: this is a production forchildren, which perhaps doesn’tquite live up to its bold claimthat it provides “something foreveryone”.howler that Rob’s infinitely fascinatingand nuanced dialoguesare coupled by his literal screwingup of a picture of a selfimmolatingBuddhist monk.In today’s context, Cigarettesand Chocolate is left exposed;worthy then, but how dare youtell me now, when adoptingforeign babies is philately forthe cretinous?I despaired with every character,beautifully portrayed,but could not understand aforeboding sense of moral guiltat modernity when today itdefines middle class politicallife. It was a relief that JoelMassey’s Alistair and JamesPelly’s Sample, both playfullytwattish, possessed the quaveringstammers and poor dresssenses of Cambridge men, andprovided something to trulyempathise with as half theaudience gazed into our future:monied (hopefully), miserableand snorting. This superior andenthralling production sufferstoo much of its own ennui in itsmessage.Will PinkneyDir: Oli RobinsonBut certainly, the group ofchildren behind me seemed delighted– albeit that one little girlannounced very earnestly to herneighbour that the entrance ofthe super-size insects was “quitescary, actually”. They relishedtoo the audience participationthat ranged from shouting greetingsto helping ensure a largeorange ball (or “peach”) didn’ttouch the floor as it was thrownaround the auditorium. Indeed,the energy and commitmentof the cast wasapparently inexhaustibleas they boundedabout the stage,switching personas,and playinga plethoraof musicalinstruments,from tambourinetoviolin.For me,however, itwas whenthe sillinessoccasionallygave way todrier ironythat the playwas at its best:in this, ThomasEdwards stoodout with an admirableand humorousperformance asthe cynical Earthworm.These moments werewhen the play managed bestto negotiate the narrow coursebetween at once entertainingthe children and amusing theirparents. Then again, perhaps itis wrong to expect this children’sstory to please all ages alike;it is doubtless a fun productionthat any visiting youngersiblings would enjoy.Alex Reza