The horror called gossip, about this fourth performance by Buysse & Joosten. For the occasion, actress Emma Buysse and director Luna Joosten are reinforced this time by actresses Eva van der Gucht and Zenzi Alwart. We meet Buysse, Van der Gucht and Alwart in the Walhalla of the gossip: a barber shop.
In Spill the Tea Van der Gucht customer Marga, a cheerful Dutch celebrity who once scored a summer hit and now, now that the fame has been faded, there has much to come to the television again. Buysse is dog coach Sanneke, who no doubt feels at ease among the dogs, but radiates a lot of discomfort in her contact with fellow human beings. Zenzi uses wonderfully fat as trainee Chelsea, who cultivated an eventless look and a mouth full of chewing gum in an attempt chill and casual To come across, and that against will and thanks on her own the salon, now that Joke, the owner of the case, is waiting for unknown reasons.
Blacken
A few fascinating questions arise from the meandering conversation of the three. What does a person move behind their backs to blacken? How pure is the one who says to withdraw from such practices? What is the connection between gossiping and empathy? All of them worth investigating. And yet something pinches.
That is in the design of the characters. Spill the Tea Want to show how a lack of self -esteem can cause a person to throw another for the bus, and to that end, from the stereotype of the woman who gets stuck in her own feelings of inferiority. The result is that we are all chuckling throughout the performance for the social convulsions of three immensely uncertain women. Women about whom we, apart from that uncertainty, learn little. We see them stuttered and stammer, their frightened looks, we see how they overthrow themselves, they are more superficial than they are, we even hear the inner critical voice that she caused their uncertainty – but we do not see what vulnerability there with all that Geins and peck is kept out of shot. We never see them in their power. This not only detracts from the tragedy of the characters, it also makes the humor somewhat saltless.
Horror
By the end, the show takes the exit to the horror morning. There is blood, there are barking dogs, mirrors, blonde wigs, it all looks beautiful. But because you have not really taken the women anywhere seriously, their fear visions do not really touch.
Uncertainty, and how far a person is willing to go into the harm of someone else to belong: it is real, social horror. But to be able to tremble, we need to know what’s at stake. What soul, under all those layers of clunicity and breast beating and slink and self -forgive, from calm and glowy and Nonchy, Simply craves a paper rating.