Halfway Up Downstage and still going strong

Not to say that it is not humourous, but that it is humour which is cheaply extracted from a casual intellectual flirt with a fundamentally revolutionary movement. Downstage's own description of the show betrays its tone: "18 mad moments of anti-art..." John Hardy's comment on the Mercury (Listener, March 19) could welI apply to this type of theatre at Downstage. He speaks of an "intellectual wank" and a "masturbation fantasy".

Ultimately, Pas de Dada dada is a company pat on the back, assuring itself it can do.. yes, even "anti-art". An assurance which is hollow in view of the fact that, if taken seriously, it would dissolve the fundamental concept of their theatre. Again John Hardy:

"It's a matter of reorientating values. Theatre is not just waving arms around in public to all friends, relatives and rabbits, but something which is consciousness-expanding, a learning experience. If all a play does is confirm the status quo, then it's rat shit and a menace to society."

Downstage has remarkable resources, finance, and enthusiasm. And they do have talent, great talent. But my god they are culturally inbred. And the dominant genes are European, middle class, and intellectual.

I acknowledge that the above does not consider the type of audience which Downstage aims for (and finds—the Travesties season has been extended). Rather it is a cry of lament at the incongruity of Pas de Dada dada with the student audience to which the late night shows would obviously appeal. However, this is personal opinion, and Salient is open to publishing a different discussion. In fact I urge people who see the show to record their opinions in Salient. If I am right, then Downstage should hear a concerted student opinion. If wrong, I freely offer the job of reviewing Downstage productions.