First of all, I am so sorry for the empty name of this article, but actually it fits with the incognito name changing from this theatre play, a musical tribute to the Andy Warhol universe – that I will try to write about; and in English, just to have an international adherence, like the play.
Untitled is that kind of introuctory line that really doesn’t give a clue about the art work or manifestations who reveal themselves right in front of us, with no excuse – very typical of the contemporary art –, an open piece full of meanings and concepts, or perhaps the opposite. Fortunately, most of it doesn’t feed any expectations. [Notice that, and please don’t get me wrong, I am not implying that the newest Gus Van Sant project is rubbish.]
Anyway, and going straight to the point, it is known worldwide that Gus Van Sant debuted in theatre, at the invitation of John Romão (artistic director of BoCA), the filmmaker wrote and directed the musical Andy – witch meanwhile has changed its name, for unknown reasons –, about the pop art icon, as the title suggests and like I had mentioned before: Andrew Warhola (the artist’s birth name). This play had its première at the National Theatre D.Maria II (in Lisbon, Portugal), from 23rd September to the 3rd October, which was extremely proclaimed and had great attention from the global press and media.
According to such expectations this musical should honestly confirm all the efforts and hope involved and not be a big disillusion. It’s a pity because Andy is just an entertainment product – and a poor one –, by appearing to be expensive. Instead of stimulating any reflection or making us aware of another perspective, undercover life facts from Warhol, this proposal only mimetically underlines what is already public knowledge about the pop art ambassador.
I have to agree with the NY Times critic (Laura Cappelle), regarding Gus Van Sant’s weaknesses in his theatrical directions and the monotony of Paulo Furtado’s music. [Maybe The Legendary Tigerman had spent too many Christmas evenings giving intimate concerts at ZDB.] Aesthetically, the biggest disappointment is its plastic realization (scenography and costumes), so predictable that it denotes that there was not enough design work, it’s barely flashy, by being too artificial. [ I’m sorry José Capela but this time you didn’t shine with ingenuity.] In short, and with all due respect, I think this play looks like a mere school exercise – and watch out, I’ve seen some excellent ones.
Lastly, but not the last, it has to be in writing, and in capital letters: CONGRATULATIONS to all the cast – composed by nine young Portuguese (and possible future) actors. These young people, are definitely to be congratulated, because they are who make it worth to stay watching the play – fully performed (spoken and sung) in English. From my point of view there are three of them who have stood out from the others for different reasons: Helena Caldeira, for her stunning versatility; Franscisco Monteiro, for his subtlety; and Miguel Amorim for his energy and presence.
The truth is that all the nine performers act with generosity and professionalism, even when, clearly, there are a few ridiculous artistic options – from the Gus Van Sant direction and his assistance –, but instead of report it, each performer, in their own way, play it seriously.
Almost ending this text, World, allow me to vent: It is quite bizarre, and given the fact of the low amounts available to finance the “culture” in Portugal, to realize that this project, commissioned by BoCA, has received, only from TNDM II, the co-production of €120,000 – when, on average, the value of a co-production, by project, is between €10,000 and €50,000. Of course, bringing a figure (an international star) as Gus Van Sant has its costs… However, it seems, to me, not very conscious and sensible – it is even shameless – to be an accomplice and participant in this type of situation that promotes an unfair distribution of the public money – tax revenue of all taxpayers residing in Portugal. At best this piece should be irreproachable to justify such an investment.
The very expected Andy, who was fully booked every day, it proved, after all to be just a bad success, so Trouble is a perfectly choice to rename it.
«ANDY» or «TROUBLE» | Text, Direction and Music/ lyrics GUS VAN SANT | Interpretation CAROLINA AMARAL, DIOGO FERNANDES, FRANCISCO MONTEIRO, HELENA CALDEIRA, JOÃO GOUVEIA, LUCAS DUTRA, MARTIM MARTINS, MIGUEL AMORIM, VALDEMAR BRITO | Artistic collaboration and Dramaturgy JOHN ROMÃO | Musical direction PAULO FURTADO\ The Legendary Tigerman | Vocal direction JOÃO HENRIQUES | Set design JOSÉ CAPELA | Costumes JOYCE DORET | Light design RUI MONTEIRO | Sound design JOÃO NEVES | Choreographic collaboration SÓNIA BATISTA | Assistance direction TERESA COUTINHO | Translation and subtitles operation JOANA FRAZÃO | Stage manager INÊS CARVALHO E LEMOS | Technical director GI CARVALHO | Executive production FRANCISCA AIRES | Production BoCA | Co-production TNDM II (Lisbon), deSingel (Antwerp), Festival Romaeuropa (Rome), Onassis Foundation (Athens), Kampnagel (Hamburg), Théâtre de la Cité – CDN Toulouse Occitanie, Teatro Calderón | Photography BRUNO SIMÃO