Elizavieta Bam
Timothy Ramsden
Reviews Gate, Edinburgh, Sunday, August 3, 2003

Magnificent performances and direction in an electric piece of Russian modernism

The modernist Russian poet story writer Daniil Harms (a pseudonym) has been virtually ignored by British theatre – Theatre de Complicite apart – so this is a doubly welcome visit to the Fringe Festival.

Harms’ experimentalism – well reflected by the excellent, if unidentified cast – is genuine, neither derivative nor self-important. No wonder Stalin’s Soviet establishment had no place for him and pushed him to early death in a mental ‘hospital’ in 1942.

Elizavieta Bam dates from 15 years earlier. She’s presented as a sensitive spirit, initially silent, white-clad and ethereal in a fast, aggressive world. Often seen in, or making her way through, a window or other exit (crawling, at one point, through something of an enlarged cat-flap), Elizavieta is eventually driven to desparation, threshing furiously around herself.

Oleg Kisseliov’s production uses walls that can re-form, assemble, disintegrate to reflect the moment’s mood. Shafts of strongly directional lighting create an anonymity, or mystery of place. Characters often struggle or die – ironically it’s the gentle Elizavieta who’s provoked to the most overtly violent act.

Diving Horse recreate this fantastic, alarming world with great skill. There’s humour, but no relief from the frenetic action in this view of society as nightmare and furious struggle to survive. This show is shocking in the best sense, because it constantly surprises by recognition of the horrors of trying to be human. A star show on the Fringe.

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