The Year of Ricardo by Angelica Liddell at the Habemus Theatrum, Theatrum, Pergamino, Argentina, with Pamela Lombari, directed by Raul Nutta, video directed by Fabian Diaz. Performances on 5, 6, 12, 13, 19, 20, 26 and 27 July 2014
Versión española/Spanish version of Rolandelli's review (without my introduction).
Living in York, I have to be careful how I respond to a question like ‘How do English people think of Richard III?’ After all, this city has a museum dedicated to righting the wrongs of the Tudor propaganda that came out of London… Yet, despite Philippa Gregory’s and the BBC’s recent attempts to repackage Richard sympathetically as a smouldering heartthrob, manipulated and maligned, to most he is still the ‘poisonous bunch-back’d toad’ of Shakespeare’s play. My friend, Adriana, who originates from Argentina, had a specific reason to ask such a question: her sister had been cast as Richard in a production of Angelica Liddell’s free appropriation El Aňo de Ricardo (The Year of Richard). In this monologue, part of Liddell’s ‘trilogía de actos de resistencia contra la muerte’, or ‘trilogy of acts of resistance against death’ , the Spanish playwright and performer re-imagined him as everything that is dark and twisted within the world. The authenticity of a historical Richard is irrelevant here: it is the symbolism that counts. “We identify with him. Ricardo shows us how democratic mechanisms are used to abuse power, cause suffering, and compensate for personal faults,” said Liddell. As the prison of Denmark becomes a parallel for any totalitarian regime in global Hamlets, so the figure of Richard can be seen to stand in for any dictator, from Hitler to Saddam Hussein, but also in Liddell’s work the implication is that he stands in for all that is dark and twisted in the self: we too are complicit, perhaps?
Striking in the images released by Lombari and the Fratacho Company is the burning of books. Liddell’s play references ‘Nazism and dictatorships current and past. Knowledge has to be burnt and destroyed as it poses a threat to power,’ explains Adriana. So, did she think that the play related to the Argentinean situation, past or present? ‘It relates to all dictatorships, and in Latin America unfortunately there is a sad and long history of that!’
Currently running at the Habemus Theatrum in Pergamino this theatre isn’t afraid of putting on challenging productions and its lead actor, Pamela Lombari, is no stranger to challenging roles.
This review of the production by Carmen Rolandelli, translated by Adriana Lombari-Bonefeld, gives a flavour of how Shakespeare’s play transforms across time, place and gender.
The Year of Ricardo
Pamela Lombari’s performance in “The Year of Ricardo” excels. It can be argued that this is her best work but that would detract from the many other important projects that this actress has faced throughout her career. Yet, in this play she has come of age, overcoming her own goals. It is a difficult performance, splitting the action from the word, that Stanislavsky himself considered was so important, when words become alien themselves, displaying the subtext, the cross action of the word. A stark text by Angelica Liddell that is difficult to digest, it is uncomfortable and angry. A ruthless criticism of the social system that goes beyond the disappointments of Liddell, it arrives at a place of absolute disbelief and scepticism, a place that does not give rise to hope.
“Dying is as close to the truth as we get,” says the author and from that position generates anxiety in the audience, from that place challenges power. Who speaks in the voice of Ricardo? The perverse capitalism, which excludes, which preys, which feeds his more egregious greed? It presents a cynical look at the only tool capable of transforming reality, politics. But is it not, that voice that mocks the ideology and power of the masses, is not speech the right of the last man? And after that, what? The author does not tell us what after that. Or maybe this, its revealed truth, is nothing more than a desperate cry. “Uninterrupted pessimism makes me distrust the human being,” says the Spanish author but also adds that the overwhelming desire to side with the loser appears. This is, in my opinion, a reaffirmation of the political. It would be good to open a discussion with the public, and that is who Liddell questions and challenges.
Raul Notta, responsible for an impeccable adaptation of the play, proves once again his ability to translate complex plays into stage language. His work and drive, keeps the spectator in awe from the beginning. Here, I can say that the concept of “spectator” is present because it is impossible not to be swept away by the action. The message confronts us, making it impossible to remain as passive subjects. On the contrary, it is impossible as a subject not to feel thrown to the depth of the swamp, that makes us angry and uneasy. Beautiful and deep is the intervention of Fabian Diaz, with his aesthetics of the margins, the unspoken words and what underlies his images. Could this be the beauty of the unhappiness and the anguish of Liddell? Hence, this is a confrontational text that leads us to the discussion of our own ideas anchored politically and collectively, and shows the excellent level and place of honour that the theatre in our community must occupy . The year of Ricardo achieved this.
By Carmen Rolandelli, translated by Adriana Lombari-Bonefeld
Versión española/Spanish version of Rolandelli's review.