QUINTA

 

Friday 31st March 2017

 

INTERVIEW  -  Stilvi Psilopoulou & Mary Karfaki

 

''Yard Gal'' is a show presented in Greece for the first time at Vault Theater. Chosen by Stilvi Psilopoulou, it is a play about the harsh growing up of two girls who live at the underground fringe of society. It's a tough play expressing at the same time an ugly yet true reality that must be heard.

 

Stilvi Psilopoulou and Mary Karfaki are two very talented young ladies, who came all the way confronting their problematic heroines. They manage to grip you with their straightforwardness on stage and with the amazing chemistry they have with each other. They told us  about the show, their heroines, acting and the future. A future that definitely belongs to them and unfolds in front of them with the most prosperous omens.

 

 

''Yard Gal'' is presented in Greece for the first time. What was the thing that dragged you to this play?

 

Stilvi: Yes, it's the first time that this play is staged in Greece and I'm very happy about that, because I believe that this is a story that needs to be heard. The simplicity of the play and it's raw style were the main reasons that dragged me into it. It is as if it looks at you provokingly and fiercely and says : ''This is me, whether you like it or not!''. This drew my attention from the first time I read it and so I took the initiative of translating it. Besides, it belongs to a very demanding theater genre, the ''in yer face'' theater, so it was a big challenge for me.

Mary: Stilvi has chosen the play first place, who actually translated it too. She had first read it while being a student in the Faculty of English Language and Literature. When she gave it to me to read it I accepted her proposal immediately because it is a play expressing timeless messages about things actually happening in our world and I was really interested at the theater genre  ''in yer face''!

 

Tell us a few things about the plot of the play.

 

Stilvi: It is about two under aged girls living in a under graded area of London, Hackney. They live in the margin, they are punks, they take drugs and are prostituting. It's as if they are not afraid of anything, being teenagers and caring all this intensity of their age. During the play, we see that they manage to keep alive their most pure and clear friendship emotions they have for one another, which comes as a contrast to the filth and the dirt they live in. This is what makes all of us realize that while we grow up we become more and more distant from our feelings and our truth and getting into a dull robotized routine.

Mary: The play is about two under aged girls with a problematic family history who end up drinking alcohol, taking drugs, getting into fights and being prostituting in order to buy drugs.

 

 

This is the first time the play is staged and the first time also that Alexandros Stavrou switches from being an actor to being a director. How was working with him?

 

Stilvi: Our cooperation was magical. Alexandros embraced us as a real father, he supported us and opened our acting and spiritual horizons. I think that besides being a talented actor he is also a talented director. He could always create this wonderful balance throughout our rehearsals, being aware of our needs and guiding us to the desired result. This is a cooperation I will always carry in my soul because he is a second family to me.

Mary: Our cooperation was really wonderful and for sure I will remember it for the rest of my life! Alexandros knew exactly how to help us do the best we could, how to make us feel safe. He is an amazing person!!

 

What are the obstacles you were faced with while staging the play?

 

Stilvi: The obstacles were many because this is a very tough play having only two actors telling a story, but with Alexandros' help we created something very special that has a lot to say.

Mary: Staging a play has many difficulties. First you need to rehearse a lot and at the same time me and Stilvi had to do other jobs as well. The combination of these two things can really make you touch high levels of exhaustion. Another difficult part is the approach to the roles but due to the right guidance of Alexandros everything went well in the end!

 

What is the feedback you get from the audience in the end of the show?

 

Stilvi: The things they say to us and the love they give us is something I will definitely remember forever. In the beginning the audience is shocked and uncomfortable but in the course of the show they always find stuff in the heroines that reminds them of themselves. This is weird considering that these two girls don't seem to have anything common with the audience at first. I am really glad that they can sense the need for the usage of rawness and the harsh vocabulary without even realizing they do. It just happens. At the end of the show they are applauding, they are very emotional and they keep telling us how much it touched them. I will never forget this young couple which has come to see ''Yard Gal' for so many times! For me this is happiness and I feel lucky and blessed that I was able to touch so many human souls.

Mary: I don't think that people judge the show negatively due to its low vocabulary. As for the rawness of it, I think that the audience understands completely how truthful this story is and that these two girls are somewhere close to them. I'm really happy seeing all this people raising more and more their awareness and sensitiveness.

 

What was the hardest part in the course of finding how to approach your roles?

 

Stilvi: I think their rawness. We are all used to lessen our height due to this period of time we are living in and as much as we want to show that we are rebels and even if sometimes we manage to be one, most of the times we still compromise. Unfortunately, we make discounts. We, as actors, had to open up, overcome our boundaries  and address something exactly the way they are, without anything stylistic or intentional. We had to tell the truth. Truth is much better than any lie, because it may hurt you but if you find the courage to face it, you will be liberated and free in the end.

Mary: I think that we were faced with a big challenge because we had to analyze and understand two people caring such a dark past and experiences that I am personally very far of! I had to be in their shoes as much as possible..

 

How close or far you actually are from the roles you play?

 

Stilvi: Truth being said we are very far from them. On the other hand in all the roles an actor plays they always take parts of their personal life. So, I drew all my personal stuff from my puberty which was very intense, rock and aggressive. A puberty that had a lot in common with Boo's.

Mary: As I mentioned earlier I was not close to the role I played... Nevertheless she does have values and love for the ones she considers to be her family and I think that this is our meeting point.

 

What would you say to your heroines if you were about to meet them in person?

 

Stilvi: If I was about to meet my heroine I think I wouldn't say anything. I would just sit next to her and try to feel her, to listen to her carefully, showing that I'm here for her, that I totally support her.

Mary: I really don't know what my first words to Mary would be... I would hag her definitely and tell her that I understand her and that she has one more true friend now to cling on!!

 

What do you feel about you roles?

 

Stilvi: I feel sorrow for all the bad things they undergo, respect for the fight they both give and last but not least, love for their passion and straightforwardness.

Mary: I love them! Both Marie and Boo! I also feel sad that their lives were so difficult and unfair from such a young age..

 

What would you wish for Marie and Boo?

 

Stilvi: I would wish they had the strength to stand on their feet by finding a true family full of love or creating their own families.

Mary: I wish they found peace with themselves and been one next to the other!!

 

Acting was the only thing you always wanted to do or just something that popped on the way?

 

Stilvi: Acting was an inner need of expression that always existed in me.

Mary: From as far as I remember myself, I always wanted to be an actress. When I was a little girl I was so enchanted by acting and when I entered the Drama School I started realising much better how many things this craft offers you. Theater has the power to pass many messages to the world!

 

How do two young girls cope with the economic crisis?

 

Stilvi: With shrewdness ! Just like our roles in ''Yard Gal''! Crisis acts like a force for every artistic expression because it has to do more with the crisis of the awareness of the people that the economic one. Lately, we've been through an awareness awakening era, I think that it is in our hands whether we see it positively and try to be inspired by it.

Mary: Unfortunately, there are many problems, the opportunities are few and the economy goes from bad to worse! I think that it is very difficult to make ends meet by being an actor and the crisis doesn't promise a better future.. I try to be an optimist but there are too many thoughts and nothing steady..

 

 

Link: https://urlzs.com/6sNKG

neolaia.gr    

 

Yard gal: Mary Karfaki and Stilvi Psilopoulou talk to neolaia.gr!

 

                     From neolaia.gr Team ▪ December 19th, 2016

 

                             

 

Yard Gal belongs to In yer face Theatre, that started in the 80s, and is a theater genre ready to provoke, attack and ring the alarm to the awareness of the audience.

 

Vault Theatre presents for the first time in Greece, Rebecca Prichard's play ''Yard Gal'' (awarded by the Critic's Circle as the most promising play) directed by Alexandros Stavrou, from Friday 2nd December and every Friday and Saturday at 11.30 p.m. and Monday at 08.00 p.m.

 

In yer face theatre destroys taboo and prejudices by being shocking and raw. It makes the audience feel they lose the ground under their feet.

 

In fact, it tells the truth beyond everything fake and fixed pushing you to the edge with the purpose of the reconsideration of our society's values. Other common features of the genre are the brutal language, the cynical characters, violence on stage and young  marginalized people.

 

Yard Gal was written by the at that time 26th year old Rebecca Prichard. It was first staged in 1998 at Royal Court Theatre and produced by Clean Break theater group that works with ex-convicts.

 

                         

 

Plot

 

Two under aged girls with problematic family background (one lives in a Orphanage from where she bunks off all the time, the other living with her abusive father) drink alcohol, take drugs, get into fights and are prostituting themselves in order to buy drugs. In a dangerous game they are playing, one of their girlfriends gets killed and from that time on everything changes.

The meanings of the show are incarnated by Mary Karfaki and Stilvi Psilopoulou's performance, who are the most appropriate people to transfer the core of the show and details concerning the theatre genre ''In yer face''.

 

So, let's see what they had to tell us.

 

Firstly, we would like you to tell us a few things about your roles. For example, what was the biggest challenge you had to face during the rehearsals?

 

M.: ''The biggest challenge was that we had to get into a situation or to manage to get the feeling of things we've never had in our lives. For example in my case the abuse she receives and the things she does to get the money for drugs.

 

Whatever this girl does is very far from me and I think that when you have to play a role like this, you need to understand the situation she is into what she is doing and why she is doing it.''

 

S.: ''We are talking about two very tough characters. They live their lives in extremes and they are very provocative. For me, there were parts of the role that weren't so difficult to approach, like the issue of rebellion as I  myself was a very aggressive teenager, so I borrowed all the elements I needed from my puberty.

 

Objectively speaking, the role I play, Boo, is a girl who prostitutes herself, doesn't have any parents, grows up in an Orphanage and is a girl that has lived under very cruel and harsh conditions, which are far- far away from mine.

 

This is the most difficult part we had to deal with while rehearsing. The dark side.''

 

 

Besides the extreme conditions under which these heroines have lived is there a meeting point between your personalities and theirs? Feelings, thoughts, perceptions and other.

 

 

S.: ''I have found many meeting points in this play with Boo and that's why I wanted to work on it. The truth is that Boo is someone willing to sacrifice herself for her best friend. She doesn't have any selfish motive but pure unconditional love.

 

This high ethical act of hers to sacrifice herself comes in contrast with the opinion the people have for her. They think she is luben and marginalized but what she does, sacrificing herself for someone else, is of a tremendous ethic and quality''.

 

 

M.: '' The character I play, Marie, is an introverted person. Sometimes she is up other times down. In order for her to express herself and communicate her feelings something really shocking has to be done so that she ''breaks'', and I think this is something I share with her.

 

So, the characters are different from each other but this difference is actually what holds them together against all the things that happen to them.

 

S.: '' Exactly. In the beginning, Boo is more dynamic and living to the full while Marie is more of an introvert. Later on, they end up having totally changed their roles. Boo changes totally getting depressed and loosing her mind while Marie becomes more dynamic and extrovert.

M.: '' Marie ends up being totally different than she used to be and doing things she would never think herself capable of.

 

How much do you think Mr Alexandros Stavrou has helped you to reach to the final outcome? Were you familiar with this kind of theater already?

 

 

S.: '' I first read this play when I was a student at the Faculty of English Language and Literature, in some theater courses I was attending. It was a play never staged in Greece before so I took the initiative to translate it into Greek.

 

I did it because I liked this kind of theater  which is called ''in-yer-face''. It is a very unique theater kind that demands certain things.

 

Alexandros besides of being a great spiritual father, besides of being the most amazing person I have ever met, he was able to create a very warm environment for us to be able to ''find'' our characters.

 

With a magical way, he could put a lot of pressure on us and when he sensed that we couldn't take it any more he stopped while giving us at the same time as much space as we needed to find new things for the show''.

 

M.: '' We approached the play all together and he knew exactly how to guide us, how to behave towards two girls that are involved in this kind of theater. He created a very unique environment so all the elements needed for our roles were able to come out.

 

Was there something special he told you, some advice maybe, that you always have in your mind and that you always follow?

 

S.: '' He had told us many things that come in my mind at times. We've done many discussions. One of the things he told us that I will never forget is that less is more. That simple stuff are more valuable than anything else. The less you do and the more introverted something is, the best the outcome is. This is the best way to stay true''.

 

 

What are the emotions you want the audience to feel? What do you want them to think when they leave Vault Theater?

 

 

S.: '' So far I have noticed that the people who have seen our show come out with a variety of feelings. The feelings we, as actors, want to provoke are shock, disgust (besides this theater genre dictates those two feelings), sorrow, love and anger.

 

M.: ''I think that if someone comes out with a restless feeling of a knot in their throats and with a lot of things to be concerned about then they were able to achieve getting the message of the show.

 

''Yard Gal'' will be published soon in Greece for the very first time.

 

Link: https://urlzs.com/8U2Vp

Talk of the town

 

Stilvi Psilopoulou and Mary Karfaki: ''The rehearsals with Alexandros Stavrou was a spiritual journey to the re-evaluation of our ideals...''

 

January 30th, 2017                                            

 

Interview by Katerina Mathioudaki

 

 

It's worth giving the stage to young people in order for them to show us their skills like in the art of acting: I was lucky enough to talk to two young talented girls that not only impress everyone on stage with their acting skills but they are occupied by impulse, enthusiasm, strength and they are not afraid to speak up their minds.

 

In this first theater work of Mary Karfaki and Stilvi Psilopoulou, Stilvi translates and Alexandros Stavrou directs with the experienced actor view but with the sweet distress of the debut in directing. ''Yard Gal'' shows are expanded and from now on it will be staged every Monday at 08.00 p.m. at Vault Theater, of course!

 

 

What was the motive for you to get involved with acting?

 

Stilvi Psilopoulou: I think that there is no such thing as a motive . You are born this way. It's not a choice to become an actor, it's just that you can't do otherwise. It's an inner need that as time passes it grows bigger and from which you can't get away.

 

Mary Karfaki: From as far as I remember myself I always wanted to be an actress. Since when I was a little girl acting was like magic in my head. When I entered the drama school I started realising how many things art can offer to your soul and how many messages theater can pass to the world!

 

Your first theater job is ''Yard Gal'' by Rebecca Prichard. Having in mind that this is a contemporary and at the same time tough play, was it like a dive in deep waters for you or the difficulties were the same with any other play?

 

Stilvi Psilopoulou: ''Yard Gal'' was definitely a dive in deep waters since it belongs to ''in yer face'' theater genre. It demands a lot of intense emotional swifts but above everything else it demands truth and honesty. We try to balance ourselves on stretched ropes throughout the whole show and every time we are on stage to ''tell our story'' it is a special challenge. This is the charming part of its toughness.

 

Mary Karfaki: I think that every play has its own difficulties and the last thing we can do is underestimate a play or a role we are called to take part in. From that part and on, the challenge of this play was huge because we had to analyze, understand and justify people with such a heavy background that is so far away from me!

 

 

Is there a moment in the show that best touches you? If yes, what is this moment?

 

Stilvi Psilopoulou: There are many moments which touch me but I would definitely choose the scene where our friend is killed tragically.

 

Mary Karfaki: Even if there are many scenes that touch me, I would choose this one: The moment when Boo sacrifices herself for Marie, because this act shows the grandeur of her soul. This was a decision made from her heart without any selfishness at all...

 

What has working with Alexandros Stavrou taught you?

 

Stilvi Psilopoulou: Alexandros constitutes a ''drama school'' by himself. He taught us a lot. In all this procedure of approaching the roles he was holding a light to show us the way by giving us all the freedom to proceed. He was always next to us, ready to support us like a real father! What he taught us mainly was how to approach a role with truth and honesty and how to maintain thin balances. Rehearsing with him was a spiritual journey to the discovery of both the role and of ourselves but also to the re-evaluation of our ideals. I specially thank him for that.

 

Mary Karfaki: First of all I have to say that Alexandros Stavrou is an amazing person, from whom I haven't only taken acting lessons but life lessons too, as we didn't lose a minute without ''philosophizing''! If I can squeeze it to one sentence, the most important thing I have learnt from Alexandros is that on stage I have to be true!

 

For you, theater is revolution, escape from everyday routine or spiritual strength?

 

Stilvi Psilopoulou: For me theater is all these things together but above all REVOLUTION. If theater doesn't discommode, shock and tell the truth to the audience then what will? If theater doesn't go against the hypnosis of the masses and doesn't arouse consciousness, then what has left for us? This is the reason why I have a special love for ''in yer face theatre'' because it does all the above more intensely than any other theater genre. Everyday, you see people running to all directions, without even knowing where they head to and why they are in such a hurry...They are gloomy and sad all the time because someone has pushed in their head a bullet which says that due to the economic crisis we all live in, there are no solutions, no choices, no hope for something better. People have lost their strength, forgot that it is them who can change everything. So, if there isn't a revolutionary theater, especially in our era, then we are really lost!

 

Mary Karfaki: I think that it is the combination of all these three because they create a circle in which the one gives rise to the other!

 

 

Tell me of a show that you have seen and is still in your heads...

 

Stilvi Psilopoulou: My favourite theater group is ''Blitz'' (Angeliki Papoulia/ Giorgos Valais/ Christos Passalis). Every show they have staged so far is a true inspiration for me!

 

Mary Karfaki: A show that is always on my mind is ''Golfo'' directed by Nikos Karathanos. I still remember parts of the show that gets me goose bumps many years later!

 

What are the problems that two young girls who love theater and ideally want to make ends meet by it in Greece at this moment of the crisis?

 

Stilvi Psilopoulou: The problems are many, especially nowadays, but I truly believe that if you really want something you end up creating it... So you vanquish all the existing obstacles. You should definitely find a way other than the theater to make ends meet in order for you to support the thing you do better. Maybe this is the best case scenario because this way you have the choice to evolve spiritually through theater than taking part in shows that may give you more money but they keep you low artistically. Regarding Greece and the crisis, I think that we are not talking about as much of the economic crisis as of the consciousnesses crisis of the so deceived and strained Greek people that someone told them that they can't and they believed them by leaning their heads forward... Let us find the strength to rise up again and take our lives back again. Finally, artists are never scared of the crises...because for them they are springs of inspiration!

 

Mary Karfaki: Unfortunately, the problems are many! Beside the fact that things aren't meritocratic, opportunities are few and the salaries go from bad to worse! I think it is easy for someone young to make ends meet by working at the theater anymore and we have to do an extra job that sucks so much energy from what we really love and try so hard to do with the best way!

 

What are your dreams about the future?

 

Stilvi Psilopoulou: Only two things, to continue creating and offering...

 

 

Mary Karfaki: Health above all and good chances to come!

 

 

Link: https://urlzs.com/7foPV

Katerina Diakoumopoulou's review about Yard Gal

 

Yard Gal, by Rebecca Prichard, directed by Alexandros Stavrou. At Vault Theater till 30th January 2017.

 

Katerina Diakoumopoulou,

 

Reposted by Lavart, 07/12/2016

 

 

 

This show introduces decently, Prichard's play to the Greek audience.

 

 

Rebecca Prichard born in 1970 in Essex, appeared for the first time in 1994 at New Playwrights Festival of Royal Court and was awarded with the Critics' Circle Award in 1998 for Yard Gal. The work of the contemporary British playwright belongs to the movement of ''in-yer-face'' theater, which was established in the last decade of the 20th c. and is represented mainly by Sarah Kane, Mark Ravenhill and Anthony Neilson.

 

''It is a theater genre whose aim is to provoke and attack the audience in order to shake their consciousness to the core. It uses a shocking and raw way to talk, destroying taboo and prejudice, making the audience feel that they lose the ground from under their feet. In fact, what it really does is telling the truth, far from everything stylistic and fake, pushing you to the edge, in order to make you re-evaluate the society values. Some other characteristic things are the use of slang, the cynical heroes, violence on stage and luben teenagers''.

 

The most representative playwright of this genre in Greece is the autobiographical Sarah Kane, who differs from Prichard, in terms of language and constructive techniques. Prichard's plays are more social and less humanitarian, more political and less psychological. They draw their content from the marginalized life of contemporary London: doing drugs and drug dealing, drinking alcohol, teenage prostitution, criminality and delinquency, rapes, youth gangs, teenage motherhood, inadequate educational and correctional institutions, destroyed families, domestic violence, politic and police violence and other.

 

Yard Gal, written back then by the 26th year old Rebecca Prichard, was first staged by Clean Break Theater Group which was created by women ex convicts and this social dimension of the applied drama had drawn the British audience's attention. Two sixteen year old girls ''drink alcohol, take drugs, get into fights and prostitute themselves in order to buy drugs. One of their friends is killed in a tragic way and from that time on everything changes''. It is a descriptive picturesque play, with particles of didacticism but without any moralizations. It is staged in Greece for the first time at Vault Theater directed by Alexandros Stavrou and translated by Stilvi Psilopoulou.

 

Psilopoulou, actress and graduate of the department of English Language and Literature of the Aristotle University,  familiar with the English theater by Savvas Patsalidis, transcribes creatively Yard Gal into Greek, without of course being able to attribute neither the British Cockney accent nor the slang. It is mainly about an adaptation of the British Afro- Caribbean, which refers mainly to the slang of the dealers of the underground places and not to the life style slang of the northern suburbs.

 

The direction of Alexandros Stavrou flows quickly, especially in the first part of the overstimulation and the uncontrollable drug consumption. After the imprisonment, the rhythm changes, the actors light specific moments, they maintain the shapes that emphasize the sharp parts of the show. The director makes the drama milder with a tension of beautifying, which has nothing to do with the idealization of puberty but with the imprint of Prichard's tension to face the vicious circle of existence with optimism. Remarkable are the original music synthesis by Stephanos Adamis and the kinaesthetic regulation by Maria Stefanidou.

 

This all attempt is counted on the performance of the two actors, Mary Karfaki and Stilvi Psilopoulou, who have worked hard apparently, building a both bilateral and interconnected stage relationship. They stand firm on their début. A show of few coefficients that introduces Yard Gal to the Greek audience decently. 

 

 

Link: https://urlzs.com/ZAWZu

Talk of the town

 

December 12th, 2016

 

Katerina Mathioudaki's review about Yard Gal.

 

A contemporary play is presented at Vault Theater from  December 2nd, directed by Alexandros Stavrou. As the ''Talk of The Town'' we grabbed the chance we were given and we accepted the invitation of attending the general rehearsal of the show, one day before their opening night.

 

Rebecca Prichard's play belongs to the genre of the ''in yer face'' theater, with obvious influences from Sarah Kane's plays which showed up in the '90s. It is a theater genre whose aim is to shake the audience to the core. These kind of plays hold true more to now than ever. As I use to say in my everyday language, it is one of the plays that ''whatever they have to tell you, they give it to your face'', without even choosing alternative ways or indirect means. If you are not accustomed to these kind of stuff, you should definitely be prepared before entering the theater.

 

The plot is about the life of two teenage girls with problematic past and present. In detail, these two girls are the ones who live and narrate at the same time their personal stories on stage. Two girls raised in a tough family core. One has experienced difficult times at the Orphanage, while the other stays with her father who abuses her. In other words, they have grown up too much too early. They have seen the ugliest face of life at the most innocent and pure age, so they become cruel themselves in order to survive. Their routine consists of drinking alcohol, taking drugs, getting into fights and prostituting themselves in order to buy drugs again. All these combined with a ''raw'' shocking language like a punch on the face. During a very dangerous game, a moment comes where their ''stable'' life routine starts shaking for good, due to a tragic occasion. Here comes the time when they are forced to take a position, showing who they really are and who they will be able to become.

 

 

A show like ''a punch on the stomach'' from the young leads who first hit their own fists against the knife having as a result a very even and integral theatrical outcome. Breathtaking they are in terms of their performing skills and totally convincing as being poor raised girls with harsh background, Mary Karfaki and Stilvi Psilopoulou stand bravely at the height of circumstances.  Actually with such an easiness that demonstrates to the audience from the start till the end how much of an experienced actor they are, winking at a reality that managed to hide the fact that it is their first professional performance! Apparently, the heroines, are waifs of a predetermined fate due to their former experiences, they straggle with their consciences, they break down, they are thundered and they are coming to shock our value system. Bringing out every fold of their roles vitally and cleverly filling the stage united as a fist with their amazing chemistry, balancing elaborately on delicate moorings of the text and on the other side they appear excellent on their outbursts without cheap melodramatics. The direction of Alexandros Stavrou fits perfectly with the dramatic order the play dictates. It unfolds aristocratically the psychological dead ends of the heroines, while the video projections offer a fresh look and enhance the stranglehold around which the play is surrounded and their main characters as a result too.

 

 

A show that eventually teaches us that if the soul is still alive then everything is possible. This soul - the locked and hurt soul or the one that is ready to take care of its wounded wings in order to fly- is approached and occupied very well by the coefficients of the show. Somehow this way good theater is born.

 

 

Link: https://urlzs.com/FY7Ld

Full- Time.gr

Entertainment

Theater/ Review by Ivoni Avgerinou/ Drama Theorist                                                         

 

 

''Yard Gal'' by Rebecca Prichard- Review                         

 

January 29th, 2017                                                                                 

                                                                                                          

 

''Yard Gal'' by Rebecca Prichard at Vault Theater

 

The chronicle of a wild and soft coming of adulthood.

 

 

We saw with much of an interest the first direction of the very well known actor Alexnadros Stavrou on a very demanding and tough play, a characteristic sample of the ''in-yer-face'' movement (Sarah Kane, Mark Ravenhill e.t.c.). Truth being said, ''Yard Gal'' of the English playwright Rebecca Prichard belongs to this theater genre, that proposes scenes of raw violence onstage through extreme body and speech actions that shock the audience with their honesty.

 

Loud rock music and videos introduce us to the topic, grabbing us literally ''by the face''. A chronicle of a wild and soft coming of adulthood of two teenage girls, unfolds in front of our eyes, flooded with drugs, frenzied rhythms, memories like nightmares, fights, life to the edge.

 

The direction of Alexandros Stavrou brings out the lively dialogues of a fluent translation signed by Stilvi Psilopoulou, highlighting the performances that make the emotional and psychological ablauts of the two girls evolve gradually. Maria Stefanidi's kinesiology follows and serves cleverly the director's line.

 

Katerina Maragoydaki's light designs contribute crucially to the shaping of a tense atmosphere.

 

Another very important thing is the original music synthesis by Stephanos Adamis that underlines the messages of the speech. The situations that the characters face are described by the bursting tunes of this music.

 

The scenery by David Negrin is ablative ascribing the ''coldness'' of the setting.

 

Mary Karfaki (Marie) and Stilvi Psilopoulou (Boo) embody literally the two teenage girls, with accurate movements, rich emotional shades, psychological swings and ablauts, creating sentimental outbursts through a common acting language. The two actresses testify performances drawn deeply from their souls with the unspoiled truth of an original naturalistic acting.

 

You have to see this very good work. It's worth it because it dares to tell the truth.

 

For limited more shows, every Monday at Vault Theater, 26 Melenikou Street, Votanikos.

 

 

Link: https://urlzs.com/y8qDr

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