Pierre-Vives Studio The Wall, Fringe Club Theatre Jan 14-15 THE first production by the Paris-based Pierre-Vives Studio, The Wall is an attempt to promote femininity by using an ambitious range of international styles of theatre. Kerensa Johnston, one of The Wall's three performers and its producer, said the play was inspired by her own experiences and those of co-star Nathalie Rafal. The two actresses are set on breaking down the social barriers, which stop them from being who they really want to be. The third player, Philip Van Den Bergh, narrates the largely silent scenes performed by the two actresses. The action centres on the difficulties encountered by cynical Australian Kerensa and hopeful Frenchwoman Nathalie in overcoming their cultural differences and in achieving their mutual search for freedom and femininity when they meet for the first time in Hong Kong. The Wall is a mythological drama which uses masked dance, movement and Western-style performances to convey the message that femininity exists in all people, throughout the world, and people should listen to that part of themselves. However, according to Pierre-Vives, The Wall is not a feminist production. Instead of pushing for equal rights for women in a world dominated by masculine values, The Wall is the first step in a seven-year project initiated by the studio to make 2001 thefirst year of a century inspired by feminine values - the Feminade Century. While the two actresses performed the masked dance, movement and the other physical aspects of the play under the stage lights, Van Den Bergh delivered the monologue from the shadows on the edge of the stage. His fireside style of delivery helped to create an intimate atmosphere, but occasionally his voice was too quiet and his French accent too strong to make his words audible throughout the auditorium. This made it hard to follow the story because the scenes performed by the two actresses were often too conceptual to be completely understood without the monologue. Consequently, the quiet delivery meant justice could not be done to Leonard Vincent's script. However, the performances by the two actresses were successful. The styles of theatre changed with the scenes, keeping the play fresh to the end. Nathalie Rafal gave a graceful and witty performance. The less experienced Kerensa Johnston showed that she has budding talent, particularly in a scene where she delivered a monologue mocking commercialism for reducing love to the commodity status of a radish.