DILÚVIO and Gerald


“DILÚVIO” Premier in São Paulo 11, November 2017

I am disappointed this week not to be in Sao Paulo to be a part of what is sure to be a colossal and mind-blowing piece of theater. It is the baby of my mentor, my teacher and my friend, director Gerald Thomas. I have been fortunate to follow the production in its development and each time I see a work of Gerald’s I am transported to another level of theater, making me think sometimes beyond that which I am able to comprehend. Some view it as experimental because of the difficulties technically and the actors have to fearlessly push themselves to the edge of communicating. It isn’t avant-garde unless you have never been to modern theater and I as a matter of fact I will never be able to label Thomas’s work. Maybe for the time-being I’ll call it “Surgical Theater” because it cuts to bone. It seems that every time a new Thomas work is born he one-ups his last creation. “Diluvio” promises to be yet another one of his assemblies of dynamics with artistically compelling lighting and design which is one of the trademarks of his magnificent productions. The honest, in-your-face theater is a product of a genius stage writer. It is almost a given, knowing that Gerald Thomas has worked with some of the most prolific authors and artists in modern day theater like Samuel Beckett, Heiner Müller, Julian Beck and Philip Glass to name a few.  Having read virtually every book and play he has written I know that “Deluge” will be riveting and relentless as well be in its clawing and scratching itself through pain, sorry, fear, as well as a host of emotions power-drilling the audience who sometimes find it so necessary to laugh, albeit usually a dark humor, but non-the-less forced to have that feeling of finally breathing. I think it is safe to say that nothing is ever the same. He seems to come up with horrifying seconds of stark imagery engulfed in a serene shell of beauty and poetry, Kind of like a luscious donut with a tabasco filling. Just when you think you are getting comfortable you are hit in the gut and knocked about. You don’t see this stuff when you are working with him because of the calming and loving almost fatherly way he gets you as an actor to jump out of your own skin and take on the universe with its ugly roaring head. It’s what we as artists discover about our own fears. That is power. That is intelligence. That is beauty and emotion. That is what theater is supposed to be about.

Seeing some of the rehearsals, DILÚVIO takes on these personas and dissects the instable life of the artist incarcerated in a contemporary present dependent and prostituted by new technologies and branded by daily information excess “via iPhone, iPad, iPod …” cushioning his senses, as well as contaminating his life and his creation. It is a production with different nationalities, styles, passions and last but not least, the addition of incredible suspension choreography developed dancer and choreographer Lisa Giobbi. The scenes are more than captivating, they are more than mesmerizing…they are intimately perfect.

My very favorite Portuguese actress Maria de Lima who awed me in Gerald’s “Entredentes” leads the cast as the controversial Santa Desgoogle of Misfortune. The character tries to save the world, sifting through this excess of information of hot and fake news. Actresses Ana Gabi, Beatrice Sayd and Isabella Lemos complete the group alongside American performers and choreographers Lisa Giobbi as well as the talented Julia Wilkins.

The show runs from November 11 to December 17, Thursdays to Saturday at 9pm, and Sundays at 6pm. SESC Theater in Sao Paolo, Brazil


Author and Director Gerald Thomas Suspension Choreography: Lisa Giobbi Movement Specialist:  Julia Wilkins Cast:Maria de Lima, Ana Gabi, Beatrice Sayd and Isabella Lemos

Dark Stormy Sea Water Storm Full HD


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