by Ernest Kearney — Klaus Kinski (1926-1991) was celebrated for his talent and disparaged for the madness that served as its foundation. Today he is best remembered for his collaborations with director Werner Herzog in films like Aguirre, the Wrath of God (1972) and Fitzcarraldo (1982), and for the recent charges of sexual abuse coming from his daughters Pola and Nastassja.
The Second Coming of Klaus Kinski writer and performer Andrew Perez presents Kinski and all his demons with such unnerving commitment that the stench of sulfur burns the eyes of the audience. It is not so much a portrayal by an actor as the actor’s possession by the character. And it is riveting to behold.
Perez captures in Kinski’s raging that cataract of pain that was the source of his talents; giving truth to the statement that every human being is an abyss.
Aided by Adele Cabot whose voice provides brief counterpoints of sanity, and under the amazingly adroit direction of Eric Johnson, who manages to choreograph this volcanic caldera of creative chaos, Perez delivers perhaps the most gripping performance of this Fringe. Or of next year’s Fringe for that matter.
A PLATINUM MEDAL, easily.
