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More sex please, we’re British

Vice is the order of the day as Oxford’s theatres
shamelessly ‘sex up’ their repertoire, in an attempt to
banish the Fifth Week blues. From incest in Phaedra’s Love
to the oldest profession in the world in Lulu, this is not a week
for the faint or pure of heart to venture into the OFS, or other
such dens of iniquity. Lulu provoked moral outrage in the nineteenth century with its
prostitute protagonist and portrayal of a society mired in vice
and corruption. Lulu is picked up off the streets as a child by a
wealthy businessman, and proceeds to climb the social ladder via
a series of marriages and affairs, bewitching all who cross her
path. Her complete amorality has destructive consequences as she
leaves suicides, murders and bankruptcy in her wake. Lulu’s complex character prevents the audience from
condemning her outright; this production makes it abundantly
clear that it is society which is to blame. It is a world of
dissipation and decadence, in which children are viewed as sex
objects, teetering on the brink of the abyss of vice, where
husbands are shot by their wives and die whilst drinking
champagne. Lulu is the means by which this society is unveiled,
as she uncovers the hidden desires of those around her. Alwa is
reduced to a worm writhing at her feet and the Countess begs Lulu
to ‘trample’ her. In this sense, Lulu is innocent, a
mere catalyst for the realisation of society’s sordid
fantasies. Yet she is dangerously aware of the manipulative power
of her sexuality. Both her narcissism and her role as reflecting
the degradation of society are realised on the stage, by means of
two huge mirrors which make up the backdrop. Although interesting in theory, the duality of Lulu’s
personality fails to come to life on stage. Victoria Ross
captures the underlying naivety of Lulu, with her ringlets and
‘baby eyes’, but lacks the sexual magnetism which is
crucial if we are to believe in her destructive, enchanting
powers. The erotic speeches are faithfully delivered (albeit in
cut glass Queen’s English), but there is a lack of chemistry
in her interaction with others. Ben Levine looks perfect as
Schoning, his goatee beard bristling with Machiavellian intent,
but he overacts and his movements are unforgivably stiff. Mischa
Foster-Poole is similarly unconvincing as Alwa, hapless and
embarrassed as he talks dirty to Lulu. There are some gems, including Charlie Covell as the engaging
lesbian Countess, who wears a tailcoat over her ballgown and
dominates the stage with her deep, resonant voice. Her
transformation into a gibbering wreck when faced with the
prospect of sleeping with a man is both subtle and amusing. Ed
Behrens is wonderful as Puntschu, the banker with an unhealthy
obsession for young girls, delivering his sleazy lines with a
sinister camp lisp. The beautiful costumes, designed by Rmishka
Singh, deserve a mention as they make an invaluable contribution
to the sense of period. This is a thoughtful production of Luluwith all of the right
ingredients for success. Undoubtedly marred by a lack of sexual
tension on the stage, it remains a provocative and
thought-provoking piece of theatre.ARCHIVE: 3rd week TT 2004 

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