Let’s set the scene. A Greek man, a French man and a silver ladder, Pete Rodriguez’ ‘I Like It Like That’ is playing through an iPhone speaker relaxing the audience into a refuge of jazz and intimacy. Nasi Voutsas is stood high upon said ladder whilst Bertrand Lescar stairs at him intensely. The audience are seated, and there is an eerie calm about the room.
This was my start to Bertrand Lesca & Nasi Voutsas’ 'One', which completes the political trilogy that includes 'Eurohouse' and 'Palmyra' . Researching the play beforehand, I felt an immense pressure to give this piece of performance art the justice others thought it so rightly deserved. With no straightforward narrative, the piece gave an improvised yet somehow thoroughly rehearsed impression. 'One' allowed my mind to interpret every step, every song choice and every lighting change in my own unconventional way.
Throughout the first twenty minutes, I found myself belly-laughing at the littlest moments. I found comfort in the predictabilities that I knew were coming, as they brought a warm atmosphere to the stage partnered beautifully with Lesca’s soft and flirtatious voice. Once the belly laughs had stopped, I found I was fully consumed by this audacious piece of theatre, interpreting every detail into my own unique story. I found the repetition of the audience interaction a stimulating play on how society is constantly wanting reassurance whether that be from our spouses, peers or more often than not social media. Creatively, I found the juxtaposition of John Lennon’s “Imagine” and Lesca’s vocal gunshots deeply resonated with the increased media coverage of disregard for human life that we are seeing more often. Voutsas’ and Lesca’s relationship on stage doesn’t just have a political stand point but, whether accidental or not, I feel the relationship lends itself to the themes of mental health; as Lasca’s repetitive voice projects across the stage, we see an uncomfortable Voutsas comply with his needs, echoing again the subconscious voice we all have inside that would rather comply than fight back.
This dynamic duo, who are polar opposites, are fantastic to watch; Lesca, an exhibitionist at times, reminds me of an acquaintance I once had (a high maintenance and rather needy acquaintance) and watching this relationship unfold on stage also reminds me of why they were only an acquaintance as opposed to anything more. Voutsas’ refusal to participate at times, echoed the political obstinacy that some world leaders are displaying, a sign of the times.
In a world where we are obsessed with creating, deliberating and opining, 'One' allows it’s audiences to read between the lines and reflect on their own mental health, irritating instincts and political agenda.
Reviewer - Caroline Bleakley
on - 8/5/19
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