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2lostsouls4 000-2

Grace Theatre, London (Today: Theatre 503)

11 - 30 July 2000
 
Supported by Brazilian Embassy in London as part of the BRASIL 500 FESTIVAL, Flame, Queen Mary University of London, Pip Printing adn Pluto Productions.
 
The British Premiere of one of Brazil's foremost playwrights
 
The play was Critics' Choice in The Metro newspaper and established the company's reputation as a "terrifying force with universal relevance".
 
"Plínio Marcos’ drama about two urban bums hit Brazil with a twack in 1967, and was banned shortly afterwards. The avalanche of expletives, the shockingly degrading urban seediness, and the theme that “real men don’t pull punches” was too much for the military run society, and his continuing subversiveness meant that the same fate of censorship greeted his next 20 plays." - Rachel Halliburton, Evening Standard
 
About the Story and the Author
The founding father of a Brazilian proletarian theatre, Marcos' naturalistic two-hander deals with two street kids who fight over a new pair of shoes. Paco and Tonho work in a street market in a huge metropolis. Both are young and poor. Tonho is full of dreams but cannot look for a better job with the pair of shoes he’s got. Pack has beautiful, brand new shoes. The conflict is hence established. Plínio Marcos never had a formal education, was a circus clown, mechanic and footballer. He writes about the underground, his characters are the dispossessed - as he himself was.

 

 

Cast and Creative Team

Directed by André Pink

Assisted by Montse Gili

Translation by Henrik Carbonnier

Performed by Edward Cosgrove and Marc Elliott

Stage design by Marina Mindlin Loeb

Costumes by Lena Santana

Lighting by Pete Baker/Toby Rhind-Tutt

Fights by Annette Boullen

Samba by Mariana Whitehouse

Photography by John Smith

Design by Mat Heinl

 

Cast Edward Cosgrove and Marc Elliot

Interval Act Roberta Gozalez playing Maria das Dores

 

“… One of the great things about this play is the way it shows that suffering doesn’t make you a nicer person and that there is no solidarity for those at the bottom of the heap. Marc Elliot as the wheedling, goading Paco and Edward Cosgrove as Tonho, a confused young man at war with his animal instinct to survive and his better, gentler nature, are good enough to give the evening credibility.”

Lyn Gardner – The Guardian

 

“… Marc Elliott plays Paco so convincingly that the desire to get up and thump him when he starts his jibes is almost overwhelming. He throws himself exuberantly around the well-designed set, hardly keeping still for a moment. Edword Cosgrove takes on the more contemplative role of Tonho well. The terrifying force of the play, and its universal relevance, is conveyed brilliantly in this translation by Henrik Carbonnier, who hasn’t balked at keeping the language colourful.”

Siobhan Murphy – The Metro (Critic’s Choice)

 

“… No gently pleasurable theatre evening here. This play by the Brazilian Plínio Marcos, who died last year will keep you on the edge of your seats. Marina Mindlin’s stage design is an apt cocoon to hatch darkness, and it will hold your straining eyes captive to every meaningless prop. The dialogue you could live without will keep your ears pinned to every uncouth syllable mispronounced by these utterly convincing actors in their journey through the bowels of life and language… A question which disturbed me as I left was how can a play about the slums of Brazil transfer over so well to what we believe to be the advance society we live in.”

Ian Fenton – Doyoo.com