The bee play 370.
(photo credit: Courtesy PR)
It’s overlong. It’s repetitive. It’s like a flashback to 70s theater, yet by the
end The Bee has sucked you into its dark vision and together with its hero, you
On his way home from work, salaryman Ido (Kathryn Hunter) is
besieged by a rapacious press. They want his reaction, his comments. To what?
Ogoro, (Glenn Pritchard) an escaped convict, has taken his wife and child
Ido is rational, civilized. There will be a solution. He will
cooperate with the police inspector (Marcello Magni), speak with the criminal,
with his wife (Hideki Noda) whose son (Pritchard) is the same age as his own,
and has a birthday on the same day.
But nothing goes according to plan
and when he takes Ogoro’s wife and son hostage, Ido – “I have no talent for
being a victim” – he initiates an increasingly brutal downward
The Bee, first presented in 2006, demonstrates how easily
savagery strips the veneer off civilization.
Set against a backdrop of
paper – so easily torn – The Bee is visually and physically imaginative and
powerful. Elastic cords are mikes, or barriers. Straws are chopped
Shadows menace. There’s sly, dry humor as well as horror. The
actors’ subtle, wondrous performance takes us with them and when, to the
haunting music of the humming chorus from Madama Butterfly that becomes the
shrilling discordance of a swarm of maddened shadowbees, it ends in chaos, The
Bee has us in thrall.