Willem Dafoe's tenure as the artistic director of the Venice theatre biennale has been a thrilling journey, marked by a bold and adventurous programming that has captivated audiences and critics alike. His passion for experimental theatre is evident in the diverse and thought-provoking lineup he has curated, which stretches from Europe to Indonesia and India. This year's edition, titled 'Alter Native', is a testament to Dafoe's commitment to giving voice to the marginalized and centring lesser-heard stories. The program is broad and outward-looking, with a genuine cultural range and an interesting fusion of theatrical traditions. The only mannered thing about this year's program is its title, which alludes to encounters between cultures and the transformative power of dialogue. One of the highlights of the program is Davide Iodice's 'Promemoria', a monumental work that takes audiences inside a care home for the elderly in Venice. The play is the result of a year-long workshopping process and a project of extreme tenderness, offering a poignant and intimate glimpse into the lives of its residents. Another standout production is 'Cries' by Christos Stergioglou and Alex Drakos Ktistakis, which distills the voices of migrants and those enslaved or displaced across time. The play is presented mostly through song and staged at the open-air Teatro Verde, where performers bring to life the anger and frustration of those who have been forced to flee their homes. The biennale also features Satoshi Miyagi's 'Mugen Noh Othello', which reconfigures the Shakespearean drama to put Desdemona, the murdered wife of Othello, at its fore. The play employs the ritual of Mugen-Noh theatre, which dates from the 13th century, and explores the theme of storytelling and its ability to resolve anguish. Beyond the official lineup, there is a six-hour durational production of Samuel Beckett's 'How It Is', which offers audiences the option of watching it either in a continuous form or with breaks in between over the course of a day. The play is a word-for-word staging of Beckett's three-part novel, originally published in French in 1961, and is regarded as something of an enigma. Overall, Dafoe's programming has been a triumph, offering a rich and diverse range of theatrical experiences that have left a lasting impression on audiences and critics alike. As he concludes his minimum two-year tenure as artistic director, the question now is whether he will sign up for another two or more years to come. In light of this year's offerings, it seems as if he is entering his stride, and the future of the Venice theatre biennale looks bright under his leadership.
