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Novi krst koji treba nositi Fringe Edinburg: Neil Cooper je gledao Mesiju Stevene Berkoffa u ponovnoj obradi Raspeća Jednom je to morao da učini. Pošto je iskopao oči poput onih iz grčke tragedije, iščupao noge Kafki i napunio gaće uz pomoć Edgara Allana Poa, čovek koji je napisao knjigu pod nazivom Ja sam Hamlet, konačno se okrenuo najvećoj priči svih vremena. Ima onih koji već godinama obožavaju samouobiičenog genija koji je nalik Bogu - Stevena Berkoffa. Drugi su u njemu videli razmetljivog šarlatana. Bilo kako bilo, njegov provokativno nazvani Mesija- koji Hrista dovodi u središte revolucionarnog skupa i kaže da je put do raspeća možda bio jedna naveliko izmanipulisana obmana kako bi se nastavilo sa onim, kako da kažem, s besmrtnošću - jeste suštinska i erotska prerada. Ovde je 1.H., kako ga nazivaju u komadu, nepokajnički seksi, jedna tiha i harizmatična zvezda, izvođač okružen pratnjom sledbenika koji leprozne drže u izolaciji. Jedini Isusov cilj jeste da ispuni Sveto pismo, miiom ili silom, ili raspećem, Pontije Pilat takođe pomaže u stvaranju mita, dopuštajući da jedino ono što on odabere bude zapisano u zvanične istorijske knjige, iako on, javno, od svega toga pere ruke. Isusova žudnja, po Judi, za divnim telom - “Što je veoma popularno među umetnicima" podseća nas na đobro iskorišćenu ikonografiju na plakatima Če Gevare ili Džejmsa Dina, dvojice veoma različitih buntovnika, Započinjući i završavajući Hristovom smrću, Mesija se kreće unazad, otkrivajući svoju verziju događaja putem gledišta glavnih nosilaca price, Zagušujuća je onoliko koliko se i očekuje od Berkoffa. Učenici, banda stanovnika Ist enda, večitih gubitnika koji će pratiti Hristov master plan sve do konačne izdaje. Sadrži odjeke prethodnih delà Berkoffa. Ekstatični Marijin zanos dok u narućju nosi svoga sina konačno stavlja meso što pulsira na do tada jalovo bezgrešno začeće. Kao i obično, đavo je, ipak, nosilac predstave i daje joj težinu Sataninim filozofskim i veoma uverljivim izlaganjem о tome kako mi samo želimo ono čega se plašimo. Kao čovek koji je uveo u Britaniju ono što je danas poznato kao fizičko pozorište, Berkoff je svojom predstavom, divno prigušenom, prepunom mudre zrelosti, za svetlosne godine ispred onih koji rade s bukačkom izveštačenošću. Uživamo u jeziku i scenama koje klize jedna za drugom na praznoj, crnoj pozornici bez rekvizita. Isus Rorya Edwardsa je stoički ambiciozan, drčni egoista koji ce dovesti do propagiranja istine, ali koji zna rizike koji to uključuju u nešto što se može završiti kao misija kamikaze. Sjajni i pakosni Satana koga je tumačio Tam Dean Burn koristi jezik kako bi izokrenuo smisao i preneo svoju poruku, ali on je taj koji se uvijajući izvlači iz pustinje jer ga je povredio Isusov otpor. Igrajući obe Marije, jedina žena na sceni Fern Smith pojavljuje se nakratko na sceni, ali se njeno prisustvo i dalje oseća i üblažava svako zapadanje u muško samozadovoljstvo. To što uopšte ne vidimo nikakvo vaskrsnuće u Mesiji svedoči da ovaj veoma ljudski Isus nikada nije trajao tri dana koliko je bilo potrebno da ustane iz mrtvih i da vernici i dalje uzalud čekaju.

Neil Cooper, The Times

A new cross to bear He had to do it some time. Having gouged the eyes out of Greek tragedy, pulled the legs of Kafka and scared the pants off Edgar Allan Poe, the man who wrote a book called I Am Hamlet has finally turned in The Greatest Story Ever Told. There are some who have worshipped Steven Berkoff's selfstyled God-like genius for years. Others have seen him as a vainglorious charlatan. Whatever, his teasingly titled Messiah, which puts Christ at the centre suggests that the road to Crucifixion may have been an elaborately manipulated scam to perpaturate the cause of, well, importality, is a visceral and erotic re-working. Here J.C., as he is addressed, is unrepentantly sexy, a quietly charismatic star performer surrounded by an entourage of acolytes who keep the lepers at bay. Jesus's only goal is to fulfil the Scriptures, by hook, crook or erucifix. Pontius Pilate 100 assists the myth-making, only alknowing what he chooses to be written into the official history books even as he publicly washes his hands of the affair. Christ's hankering, according to Judas, after a beautiful corpse - “very popular with artists” brings to mind the well-postered iconography of Che Guevara or James Dean, two very different kinds of rebel. Beginning and ending with Christ's death. Messiah moves backwards, unravelling its version of events through the point of view of the story's chief players. It's as gobhy as one expects of Berkoff, the Disciples a gang of East End ne er-do wells who'ss go along with Christ's master plan riglu up in the ultimate belrayal. in simitar echoes of Berkoff's previous works. Mary's ecstatic rapture as she cradles her Son finally puts throbbing flesh on to a hitherto a rid immaeulate conception. As usual through, it's the Devol who steals the show, here lent wright via Salan's philosophical and hugely persuasive treatise on how we only desire what we are afraid of. As the man who introduced what is now known as physical theatre to Britain, Berkoff's production is beautifully understated, awash with a knowing maturila light years ahead of the purveyars of wham-bam histrionics who followed in his wake. Language is relished like choise cuts of prime beef as each scene slithers into the next on a bare, black, propless stage. Rory Edwards's Jesus is stoically ambiguous, a. homy egotist wha'll take things to the limit ot propagate the truth but who knows the risks involved in what could end up a kamikaze mission. Tam Dean Burn's briliantly malevolent Satan uses the language of spin to get across his pitch, but it is he who writhes out of. the desert, wounded hy Jesus' resistarce. Playing both Marys, and the sole female rucsence onstage.Fern Smith gives a fleeting but lingering performance that affsets any descent into pure machismo. That we never see any Resurrection in Messiah suggests that this very human Jesus never lasted the three days it would take to rise again, and that the faithful are still waiting in vain.

Neil Cooper, The Times