The first text of the award-winning Scottish playwright David Harrower tells the story of a threatening love triangle set in a rural , Spartan context which revolves around the intimate questions of an unnamed woman dealing with the discoveries and knowledge of life.
David Harrower’s language on stage is poetic and carnal in the pure sense of the term, close to the land, to nature, to the essential elements of life.
The wild, fragmented play script invades the world of the three protagonists where the story is set.
The words, the "names", are constantly sought to describe reality.
It is about translating feelings into words that have no verbal description.
The images escape the contours of the immaterial reality of the fields near the village. What is raw and tied to the land (the element of the Young Woman and her husband William), is real but mobile, multifaceted, in continuous transformation: "Every time I look at them, things change".
Thus the meeting with Gilbert Horn, the outcast miller of the village, becomes decisive for the Young Woman, who (re) discovers a new way of facing her personal journey towards articulacy, even through the writing.
The miller weaves himself into the preconceived convictions of the Young Woman, shedding new light on her marriage and on the possibility of living a life outside the physical, social boundaries of a "silent" village, without words.
When this text arrived, I was immediately fascinated by the writing power and the design of the characters, of three autonomous lives, of three such primitive and original solitudes in confrontation.
Never before, as in this case, do I believe that the direction of a woman is essential to help grasp the passionate density which pervades the work.
Not surprisingly, the stage space is entrusted to Margherita Palli, one of the most important stage designers on the theatrical scene and the lighting, to Camilla Piccioni, a solid light designer of my latest shows.
Eva Riccobono, the female image par excellence, was a real revelation for me: a test of mutual feminine sensibility which in my life history has repeatedly given birth to successful experiences and productions. Like with Isabella Ferrari, protagonist of "Ondine" by Giradoux, Giuliana De Sio in “La Double Inconstance” by Marivaux and Adriana Asti, brought back to her Milanese origins, by me, with Testori´s "La Maria Brasca".
Andrée Ruth Shammah