Radio Slovenija - Danes do trinajstih

13 September 2009

The first thing that can be said about Crave is that the performance requires extreme concentration on the part of the viewer: it is built from four scenes, each of which concentrates on one character telling her or his story to the audience, not as a logically constructed narrative but as a series of interferences, which are connected to the emotional state of the narrator, but nevertheless interfere with a formation of a coherent narrative, and even obstruct it. Instead of calling it the story of their lives, one could call these the story of their loves. An individual fate graduated to tragedy, even the despair they all feel and unsuccessfully try to conceal, is the consequence of unfulfilled loves that reveal themselves as mere sexual relationships and bring no peace, but rather awaken painful childhood memories of abuse. […] The costume characterisation demarcates the protagonists as the carriers of different life functions, which in the end – given that all the stories are similar – underlines the thought that tragic love can occur regardless of the role one is playing. The actors must be congratulated. They only have the word and face mimics to convince, especially Neda R. Bric, and where they do add some gesture, like Matej Recer, Janja Majzelj and Boris Kos, did, this is to underline their inner agitation. Boris Kos. is particularly convincing. The comic sense of certain statements is also effectively conceptualized and directed and convincingly performed; however, if one follows the performance with more than just superficial interest this comedy turns out to be a concealed tragedy which is the basis of Crave.

Miha Zor

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