Kate’s Score:Two and a half-interstellar aliens.
Rainer Werner Fassbinder’s Blood on the Cat’s Neck is an absurdist German play whose alternate title is, intriguingly, Marilyn Monroe vs The Vampires. The play explores the question of how an alien from space might view humanity; the alien in the play is an attractive woman named Phoebe Zeitgeist, an alien vampire and Marilyn Monroe look-alike who is surrounded by people at a cocktail party and learns how to speak from them.
The play is challenging on several levels. Firstly, it is a translation and in this version translated by Denis Calandra, something seems to have been lost. It is always extremely difficult to translate literature because one is dealing with cultural connotations of words and phrases and German theatre brings its own challenges, as does absurdism. The translation needs to be on point and there is a strong sense that Calandra’s is wide of the mark.
Then, there is the structure of the play. It has three sections – the opening section in which the main characters give monologues that reveal themselves. This is a very loose, disconnected form and requires great skill to create a sense of overall cohesion. The second section sees Phoebe interacting with these characters, picking up certain phrases from them. A more interesting dynamic, the production needs a stronger transition from first to second phase and into the final section, in which Phoebe, using her limited vocabulary, repeats back “their aphoristic and self-justifying slogans”, with the characters divided over whether she is smart or drunk.
Much of Fassbinder’s play deals with issues which, unfortunately, are still relevant. Hard on the heels of our own Federal election, the characters display nastiness, pettiness, jealousy, greed, mendacity, violence and total self-interest. As a journey from 1971 to now is a short step indeed. And the Bordello at the KXT is an ideal venue to offer the play. The room with its blood red walls and period décor offers a luscious, thematic background to the statement of the piece. The director, Saro Lusty-Cavallari has envisioned an “immersive, interactive installation”. It is certainly immersive but interaction only occurs at the very end and the audience, by then, we’re not primed to participate. The expectation to suddenly join in and dance sat uncomfortably against the previous role of observer only.
The ensemble of Alex Chalwell, Jack Crumlin, Jemwel Danao, Dedng Deng, Laura 
Dianegara, Deborah Galanos, Alice Keohavong, Emma Kew, Brendan Miles and Annie Stafford all play a central character but seem to take on other characters as well. Seemed to, as dialogue indicated this was the case but there was little differentiation in characterisation and the dialogue was unclear at times. (This goes to my old complaint of Australian actors not finishing the ends of their words and just mumbling at times.) Coupled with a soundscape which was suitable but blasting from one speaker rather than being ambient, the sensory feel and engagement become inconsistent.
There is an attempt to do something new here but there needs to be an equal focus on characterisation and meaning. Sudden moments of coyness in presentation (sex and violence) sit oddly with the claims of the production. The experience is not nearly as confronting as it could be, or should be. If re-worked, the director and cast could strive to be more startling, more challenging.
Kate Stratford – Theatre Now Sydney
Blood On The Cat’s Neck
Rainer Werner Fassbinder
Translated by Denis Calandra
23 May – 1 Jun 2019
7:00pm performances
with 2:00pm matinee on Saturday May 25
and 4:30pm matinee on Sunday May 26
Venue: Kings Cross Theatre
Bordello Room
Theatre Company: Montague Basement
Duration: N/A
“Phoebe Zeitgeist has been sent to the earth from a distant star to write an eyewitness account of human democracy.
But Phoebe Zeitgeist has a difficulty: although she has learned the words, she doesn’t understand human language.”
Seen through the eyes of the alien Phoebe Zeitgeist, Rainer Werner Fassbinder weaves a tapestry of petty nastiness, jealousy, insecurity, bullying and domination as an ever-shifting cast of characters move closer towards Phoebe’s orbit and their own bloody fate. Hilarious and horrifying, Blood On The Cat’s Neck is a vibrant reminder of why the German rebel remains one of the most unique and revolutionary voices in theatre history.
First performed in Germany in 1971, Montague Basement is proud to present the Australian premiere of this underperformed masterpiece. As the first performance in KXT’s exciting new PopUpstairs program, Kings Cross Hotel’s unique Bordello room will be transformed into an immersive theatrical experience that is sure to be an unforgettable night out.
Directed by Saro Lusty-Cavallari
Produced by Imogen Gardam
Costume Design by Grace Deacon
Lighting Design by Sophie Pekbilimli
Photography and Design by Jasmin Simmons
With Alex Chalwell, Jack Crumlin, Jemwel Danao, Deng Deng, Laura Djanegara, Deborah Galanos, Alice Keohavong, Emma Kew, Brendan Miles and Annie Stafford.
