"Teatro Plastico’s production of a trilogy of Beckett plays at the Ardhowen Theatre, further enforces this notion of merging the living with the landscape.
In Rough for Theatre II we enter to the scene of a lone figure in shadow with his back to the audience, against a blue, cloud speckled sky.
This is Croaker, a man on the brink of jumping from a window ledge while two sinister auditors fuss over the details of his life. He remains motionless throughout the play, a blot on the landscape, but his existence is discussed and critiqued back and forth, back and forth; he is both the body of the text, the squabbling clerks keeping his life in motion, but also the form of the landscape, fixed and unmoving.
At the close of the play, Bertrand, the more dominant of the two auditors, peers at Croker’s face by match light and then holds a handkerchief to his mouth to look for breath. It seems that without jumping, he has already expired.
He will remain, like Winnie, one of Beckett’s new peopled monuments in a vast experiential landscape. The remnants of his life scattered like flora."
"Still Lives in Motion"
"Teenage girls sitting behind me in the Ardhowen theatre snicker as the surtitles repeat the same lines for the fourth time. What Where, written in 1983 and Beckett's final play, is the last of three stunningly lit and delivered shorts from the Portuguese company Teatro Plástico. To the teenagers, the repetitions seem ridiculous. They're right; they are young. Older members of the audience cannot laugh. To us, the repetitions, each following the disappearance of an actor from the stage towards a mysterious interrogation, are relentlessly oppressive."
"Even temperamental surtitles couldn’t detract from the power of Teatro Plastico’s interpretation of What Where.
Starkly staged and deliberately slow, it struck a particularly resonant chord politically..."