Archive for the ‘ Drama ’ Category

Pelléas et Mélisande

On Tuesday night 3 October I will perform the role Pelléas in the play Pelléas et Melisande, written in 1892 by the Belgian Nobelprize-winner Maurice Maeterlinck. The play is one of the regular playreading set up by the Geneva English Drama Society.

The performance will take place in the English Church Hall, at Rue de Montblanc, at 20h00.


Citoyen de Nulle Part

Citoyen de nulle part On 31 May and 1 June we will perform the play Citoyen de Nulle Part, at 20 o'clock at the aula of Collège de Voltaire, Geneva. Tonight is the dress rehearsal, with the full gear. It'll be very interesting to see if everybody will remember their lines… ;-)

La Sourde Oreille

LA-SOURDE-OREILLE-800x600.jpgThe theatre Le Poche, here in Geneva, is playing "La sourde Oreille" by Torben Betts. I was there on the ngiht of Friday May 5.

The play starts like a completely ordinary family meeting. It's only gradually that environment degenerates at such point that it is not known if one must laugh or cry.

When one has "une oreille sourde", a deaf ear, one breaks off the other person in the middle of the speech. In the play there are a lot of situations like that…and for a reason, it turns out.

Doña Rosita

The première of the Lorca play “Doña Rosita” at la Comedie was on 26 April. And by hazard there was a ticket over for me…

I liked very much the mix of music and theatre, which didn’t turn it into a musical. The musicians were part of the play, and made up a good balance to the young girls on the stage.

A surprise awaited after the 3rd round of applause: the final scene was played again 2-3 times with new interpretations. It got wilder and wilder. Very uplifting. :-D

North country

The newspaper Le Temps invited its subscribers Sunday night for the Geneva avant-premier of the movie North Country.

The movie, which had the working title Class Action, tells the story of the first sexual harassment case in the US.



In Justine, the first book in the Alexandria Quartet we zero in on Justine, a mysterious and alluring nymphomaniac with dubious origin. To give her character body, Durrell uses the technique of letting the story teller find a book written by her former husband, Arnauti, on their marriage and the causes for its demise. Interesting technique. 

I like the following paragraph which is describing Balthazar, the protaganist of the second book.

I see now that he was one of those rare people who had found a philosophy for himself and whose life was occupied in trying to live it. I think this is the unanalysed quality which gives his talk cutting-edge.


Allers-RetoursThe play we are setting up in the Aula of Collège de Voltaire on May 31 and June 1, Citoyen de nulle part, is based on von Horváth‘s Allers-Retours. The poster on the left is from La Comédie‘s setup of the piece last year (and which also inspired our teacher Denise to pick this play for her students).

Von Horváth was born in Hungary in 1917, and went to Germany to study in his late teens and stayed there until the rise of Nazism pushed him to move to Vienna in 1933. The annexation of Austria (“die Invasion auf der Rote Teppe” as I learned to know it at school) in 1938 prompted him to seek exile in Paris, where he died only a few weeks after his arrival. He was struck by a falling branch from a tree in the Champs-Elysées as he stepped out of a cinema into a thunderstorm.

Bon. At the heart of our play, as for the original, is the following situation (thanks to A Flickering Light for this summary) :

A middle-aged man (Ferdinand Havlicek), born in country A, but having lived in country B since he was 15 days’ old, is expelled by country B following the collapse of his business and his resulting bankruptcy. He is escorted to the border and told to return to A, the country of his birth. He walks across the bridge that connects the two countries, but on arriving at the border control to country A is told (by Constantin) that a law was passed 20 years ago where all nationals who have been living abroad for more than five years and have not returned to register themselves are considered to have renounced their citizenship. Both country A and country B thus consider him a foreigner and he is a citizen of nowhere (citoyen de nulle part). He is destined to wander back and forth across the bridge either until one of the countries relents – or until he dies of hunger.

There are several ideas running in the play: ideas about exile, about bureaucracy, about love. I hope we will be able to develop them enough through our acting.