YLANNA’S 666
‘ drinks were on the house. It was a
tiring life (they still had to rehearse during the day) but without it. how else could Yllana have developed its brusque blend of in-yer-face commedia dell‘arte and street theatre. a rude and ribald collision between physical theatre and slapstick?
On our way to the club. through the empty late night streets. before Ottone is hugged by the bouncer like the old friend he is (hugged by the bouncerl). he laments the change in his native city since Yllana (the name is as nonsensical in Spanish as it is in English) first painted it red. It‘s getting more European. he says. more sensible. people aren‘t staying up on week nights like they used to. they‘re not the ravers they were. And it‘s true that once the magician has packed away his silk hankies. the Berlin Cabaret Club is not what you‘d call a Wednesday night hot spot.
But Yllana has taken the energy with it. A mile or two away in the Alfil Theatre. the company‘s home. Ottone and co have been packing in a hip young audience night after night for 666. an outrageous and wordless black comedy about four male convicts on death row. It‘s a feast of phallocentric fun. a bad taste mix of masturbation. mutilation and murder. featuring the most extended bout of
24 THE LIST FESTIVAL GUIDE 3—‘10 Aug 2000
audience humiliation I‘ve ever seen. not to mention the urine sprayed from the stage and the gratuitous wiping out of a fluffy little lamb.
‘The title symbolises what the show is about.‘ says Ottone. ‘It‘s about evil. it‘s about violence. it‘s about the dark side of human beings.‘ If it
doesn‘t bring Moira Knox out of
retirement for its four-week pre-West End run at the Pleasance. then nothing will.
Subtle it is not. It‘s a playground riot of nob. piss and wank gags. One routine is an extended riff about the fun you can have with an electric chair; another stars two men hanging from a noose. It is gallows humour pushed to the limit. but that‘s not to underestimate the subtlety of the performances. Ottone‘s aim is to
create an international language of
physical comedy and. having played in over 30 countries (including two previous Fringe visits with Muu.’ in 1993 and Club. Glub.’ in 1997). he knows what he‘s talking about.
‘One of our key influences has been travelling to so many festivals.‘ says the Madrid-born son of an Irish mother and an Italian father. his eyes deep set. his hair shaved to the same length as his stubble. ‘We‘ve been to Japan. Singapore. South America. Africa We know what is
If it doesn't bring Moira Knox out of retirement for its four-week pre-West End run at the Pleasance. then nothing will.
'It's about evil, it's about violence, it's about the dark side of human beings.’
happening in comedy in the world. The most important thing for us is transmitting comedy.‘
And what he has is a very exportable product. Ottone loves Madrid and has no plans to leave. but his theatre is built to travel. For the first time. he has recast one of his shows for export. The Edinburgh production of 666 will star not the original close-knit Spanish company. but four British actors who‘ve spent an extended rehearsal period honing their physical skills to take on the franchise. ()ttone is unfazed by this. He likes thinking globally. ‘We‘re not provincial.‘ he says. arguing that there‘s nothing uniquely of Madrid in his shows. ‘We try not to deal with politics. but with feelings. We‘re entertainers. we want to have a good time and if we can do that through powerful ideas then even better. Our main purpose is to try to extract as much humour as we can from a situation. 666 is a very hard situation which shouldn‘t make you laugh. but you do.‘
666 (Fringe) Yllana, Pleasance (Venue 33) 556 6550, until 28 Aug (not 7, 15, 21) 10.30pm, additional performances 11-12, 18-1 9, 24—27 Aug, 12.05am, £10/£9.50 (£9/£8.50).