‘The Cauliflower Boy’ 390.
(photo credit: Asher Svidanski)
Rakefet Levi’s amazing set for Cauliflower Boy complemented by Ya’akov Salib’s
artful lighting is what sticks in the mind. Levi has constructed a huge
Scores of chairs form the canopy and trunk, hung from the flybars
and on the floor of the stage. Empty chairs that imply communion, possibility,
loss, hope, all of which seem to be the themes of Cauliflower Boy, as well as
nostalgia for a simpler past when children “played hide-and-seek and tag…” Except
that this view of childhood is from an adult perspective – visions of The Little
Prince keep coming to mind. The actors come on stage – the women in heels, the
men in jackets. They shed heels and jackets and revert to childhood, or rather,
the cusp between child and teen, to revisit that vision of the past, a past that
encompasses both innocence, evil and what lies between.
The idea is
viable. The execution lacks, not least because of the near deplorable diction.
However beautifully they reproduce their mannerisms and movements – and this
young and talented cast do just that – adults cannot sustain as children, and
watching that failure is painful.
Director Raban-Knoller and the cast
created the play but forgot to provide an editor.
There is much charm but
not enough discipline.
The same is true of No(se)onenowhere, written,
directed and performed on basically an empty stage by the awesomely gifted Ofir
Nahari, who provides the music, lyrics and animation for Cauliflower
No(se)onenowhere is a classic clown show that illustrates in mime
and gibberish Nahari’s apparent disillusion with the world that crowds in on and
deafens him. The various episodes show the Clown confronting that world. One in
particular charms. There is a little lopsided door, about 50 cm. high, at which
a stream of people knock, some singly, some in crowds. Nahari’s responses are
delicious and draw deserved laughter.
Both productions are a little raw,
that’s true, but long live the Dimona Theater. It will get there.
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