When the world has gone to the birds, the cuckoo is king.
Two shiftless con men scheme to exploit the power of the birds by encouraging them to build a fortress in the sky, from where they can lord over mankind and Gods alike. Aristophanes’ classic comedy THE BIRDS is about corruption, weakness and power; how easily people are exploited based on fear, ego and greed; and how even noble ideas may be corrupted if those who have power are irresponsible and/or selfish. (Sound like anything going on now? Hm? Too soon?) Or, as John Dalberg-Acton, 1st Baron Acton said to an Anglican bishop, “Power tends to corrupt, and absolute power corrupts absolutely. Great men are almost always bad men…
If you’ve never seen or read Aristophanes’ The Birds, the new Sacred Fools production is a fun way to experience a story that even 2400-some years later, it’s woefully relevant.
...the production is extremely solid with a top-notch ensemble, tight direction, excellent use of music and singing, and smart production and ensemble.
Director Sabrina Lloyd does her best, but the production was obliviously a patch work, rushed to make the Fringe. However, while she and her crew bit off more than they could chew, they didn’t completely choke on it. The show managed to spit a couple of well-aimed wads in the direction of that troll in the oval office and it was fun enough to earn —
The Birds kills two birds with one stone: It contains an astute political critique about the dangers of unchecked power and it’s a ridiculous story about birds who threaten to poop on the audience. This production understands the heart of this comedy and, quite rightly, doesn’t take itself too seriously. But it also feels unfinished and haphazard, with cluttered staging and offbeat comedic timing. For all of its best intentions, The Birds can’t quite take flight.
If you’ve never seen or read Aristophanes’ The Birds, the new Sacred Fools production is a fun way to experience a story that even 2400-some years later, it’s woefully relevant.
...the production is extremely solid with a top-notch ensemble, tight direction, excellent use of music and singing, and smart production and ensemble.
Director Sabrina Lloyd does her best, but the production was obliviously a patch work, rushed to make the Fringe. However, while she and her crew bit off more than they could chew, they didn’t completely choke on it. The show managed to spit a couple of well-aimed wads in the direction of that troll in the oval office and it was fun enough to earn —
The Birds kills two birds with one stone: It contains an astute political critique about the dangers of unchecked power and it’s a ridiculous story about birds who threaten to poop on the audience. This production understands the heart of this comedy and, quite rightly, doesn’t take itself too seriously. But it also feels unfinished and haphazard, with cluttered staging and offbeat comedic timing. For all of its best intentions, The Birds can’t quite take flight.
