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Anna X review, Harold Pinter: Emma Corrin is a fake heiress in this highly intriguing new play

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I think so I am. With this pithy statement, the philosopher Descartes dramatically reduced the scope of what human beings can rely on for certainty. One wonders if nearly four centuries on the contemporary equivalent of that statement would be: my life story is developed as a series by Netflix, so my life has to be vindicated regardless of my shady resume.

It just might seem like the predicament of Anna Sorokin or Anna Delvey (to use her assumed name), the fake heiress who defrauded her way to the top of the globalized online world, where curation gives more. of buzz to the body than to create. This uber-charlatan who ended up in convictions for grand larceny (she was from a poor suburb south of Moscow; her father worked as a truck driver) forms the basis of Anna x, the very intriguing and talented new piece by Joseph Charlton.

Daniel Raggetts’ invigorating episode is the third in season Re: Emerge from Sonia Friedmans to Harold Pinter. Mikaela Liakata and Tal Yarden are the scenographers and video designers; working on a grid pattern that can become mobile white boxes, they swarm and sway debates with the kind of imagery that turns these people on.

Emma Corrin (familiar as Diana in The crown) and Nabhaan Rizwan (the TV star Industry) play all the roles, including the fools who have compiled 500-page books detailing their sexual history. Rizwan primarily portrays Ariel, a young startup prodigy who has designed a dating app (by invitation only) that incorporates his perception that fashionistas hate the way the internet has democratized culture. They’re still with Andy Warhol and the politics of Studio 54, where it was a dictatorship at the door, a democracy on the dance floor.

Anna, meanwhile, began her steadfast ascent through a wealthy background, where the wealthy seem to be positively flattered by suitors (until the checks start to bounce). The couple bump into each other during an immersive, sweaty party experience on Governors Island (stunning aerial views of the Statue of Liberty from behind).

Corrin and Rizwan have very good spontaneous chemistry. So much the better, because the clever and compelling twist of Charlton’s take on Anna’s riddle is that he presents her as almost a love story. The Ice Princess thaws enough to laugh at her dazzling gullibility. She enjoys teasing him with transparent fake stories, like how Soviet girls would insert vodka-soaked tampons into their vaginas to absorb alcohol.

At one point, the couple witness a private view of an exhibition of all-black canvas under Rothko. Ariel mistakenly refers to artistic influence as Rothcow, and is impressed that Anna read about Rothko on Whatsapp in the cab on the way. You know, it’s almost funny, she told him.

Of course, Ariel (spoiler alert) becomes the agent of his downfall. But his disgrace ruins him too, and his fascination with her persists. Through him, we see a side of her that would like to reveal her imposture.

Corrin and Rizwan have spontaneous chemistry

(Hélène Murray)

I hope Joseph Charlton will continue to write for the theater. He has a real sense of what is enigmatic and imponderable in the static and sparkling enigma of contemporary life, and uses the abilities of the medium as a way not to suppress the possibilities. Sometimes watch Anna x, I had the feeling that he could have in him a work as deep and irreducibly irreducible as Michael Frayns Copenhagen.

On view until August 4 at the Harold Pinter Theater

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2/ https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/anna-x-play-emma-corrin-review-b1885373.html

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