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BAM Harvey Theatre
651 Fulton Street, Brooklyn, NY 11217

05 Oct 2010

Needcompany

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Play/Drama

5

6

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The death of a Needcompany members brother, journalist Kerem L., who was killed while covering the war in Kosovo, is the factual seed from which springs this wildly imaginative performance work. A U.S. premiere, it is the third installment of Sad Face | Happy Face, visionary Belgian-Flemish director Jan Lauwers's trilogy on human nature (the first, Isabella's room, played in BAM's 2004 Next Wave Festival; the second is The Lobster Shop). The Deer House centers around a group of international performers and artists faced with the increasingly harsh reality of the world they travel with their productions.
- nytheatre.com

2006

Needcompany

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-

I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

-

Play/Drama

4

5

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Play by Jan Lauwers with material by Anneke Bonnema; translated by Gregory Ball, Monique Nagielkpf and Olivier Taymans; music by Hans Petter Dahl and Maarten Seghers; Lyrics by Jan Lauwers and Anneke Bonnema

Belgium group Needcompany arrive at the Tramway with a fierce two-hour story whose central character is a fat, blind old woman of 89 who flouts the petty body-fascism of our time by remaining erotically alive and kicking. Inspired by the personal experience of writer/director Jan Lauwers. the show tells the life-story of a female alter-ego, Isabella Morandi, who grows up believing that her real father is a desert prince from Africa, and who inherits a strange room in Paris filled with thousands of African objects. it's the landscape of this room that forms Lauwers's unforgettable set; and in it, Isabella lives out a life filled with transgressive sexual adventure, and the gradual unveiling of old secrets and lies. The most disturbing aspect of the show is its apparent acceptance of a exoticising colonial attitude to Africa and Africans. But this is a fine, troubling and radical show, all the same.
Joyce McMillan, Scotsman