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EIF Review: Dusk ***

Michael Cox reviews 'a production that is easier to admire than like'.

Less of an adaptation of Lars von Trier’s film Dogville than a reaction to it, Christiane Jatahy’s production Dusk takes the concept of an outsider integrating into a close-knit community in America and makes it a modern story about refugees: gangster’s daughter Grace becomes Brazilian Graça looking for safety. At first she earns her way into a society, but things go wrong and she becomes a victim as each person turns against her.

As with an experiment, the production feels like we the audience are watching ‘results’ instead of becoming invested in a performance. There are clever moments throughout—the use of live projections that create impressive dramatical twists is particularly interesting. But while the play is filled with ideas, not all of them pan out. Perhaps it is a production that is easier to admire than like.

There are great performances throughout, and each actor has at least one moment to shine. There are also some interesting themes that the production explores, and the staging is perpetually interesting. It asks questions and sometimes tries to give answers, but it seems more concerned with its conceits than finding ways to empathise with Graça.

There is nothing wrong with Dusk. There is a lot to admire in what it sets out to do, and it does accomplish some of its theatrical ideas well. It’s just hard to care. Even a final, quiet moment of actual grace manages to stir very little.

Dusk is part of this year’s Edinburgh International Festival and performs at the Royal Lyceum Theatre until August 8, 2023. Image by Magali Dougados.


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