At the end of this remarkable meta-theatrical spectacle created by
It is but one of many startling images and devastating moments in this multi-layered, often funny and confrontational piece exploring disability, representation and authenticity. In the process, the cast questions who has the right to tell a story and who has the right to be heard: on stage and in everyday life.
It would be interesting to see this in tandem with Exhibit B at the
The debate is charged here, too, touching as it does on the sensitive subjects of disability and the Holocaust. There are many undercurrents and stories being waved in front of us, but at its heart this is the tale of the elephant-headed deity, Ganesh, who - to stop his father destroying the universe - travels to Hitler's
Entwined with this story is another about a theatre company making a show in which relationships between the cast and the director become increasingly fraught. Questions about the creative process are raised, and tensions rise around just who has the right to say what about whom - including whether or not Mark has the mind of a goldfish. Fascinating, often oddly beautiful, and in one sequence where the director - wearing a Nazi uniform - turns violently on one of his actors, seriously alarming.
Until 12 August. Box office:
Startling images . . . Ganesh Versus the Third Reich Photograph:
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