~~~~~~~~~~~~~~~~
Last of the Red-Hot Dadas

by Kerry Reid

Review in the Scotsman by Kirsty Knaggs (August 16, 2003)
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4 stars

 

FROM the moment that she sweeps into the room, decked in an outrageous costume comprising cutlery, kilt, feathers, part of a ball gown and other assorted peculiarities, there can be no doubt in the audience’s mind: the Baroness Elsa von Freytag-Loringhoven is here.

 

Elsa was a legend in her own lifetime, a larger-than-life character whose refusal to conform brought her infamy, poverty and heartbreak. Her art was not limited to one medium - she painted portraits, created sculptures, wrote poetry and designed costumes - but her personality and passion were her real artists’ tools, and she used both of them to create a life that was a performance in itself.

 

In Last of the Red-Hot Dadas, Elsa recounts her extraordinary life, from her disturbed childhood in Germany to her adventures in Manhattan, interspersing her monologues with poetry, puppetry and performance. There is not even the slightest suggestion of acting from Christina Augello - she is consumed by her role and her mask doesn’t slip for a microsecond; her accent is so impeccable that at times it is even a little too impenetrable.

 

This is a powerfully emotional performance with a force that will leave you drained; all the grief, passion, derision, rage, and love that imbued Elsa’s life is transferred to the audience and it’s impossible not to be utterly transfixed.

 

Kathryn Wood’s incredible costume designs add to the veracity of the performance - she has clearly done her research and created an authentic replica of Elsa’s eccentric wardrobe.

 

Largely forgotten since her death, Elsa’s life and art have recently begun to be celebrated once more, following a 1996 Dada exhibition at the Whitney Museum in New York, the publication of her autobiography in 1992 and a new biography last year. This play will add to the revival and ensure that the Baroness of Dada is not forgotten.

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