Interview: seeds (postponed for the duration)

“…brace yourself, you’re in for an emotive and important ride!”

WHO: Anastasia Osei-Kuffour, actor

WHAT: “On Michael Thomas’ birthday, his cake sits in his mother’s living room, its candles burning undisturbed. Jackie wants to clear her conscience, whilst Evelyn’s got a big speech to deliver on the 15th anniversary of Michael’s fatal stabbing. Are some things better left unsaid?

Shortlisted for the Alfred Fagon Award, seeds tells the story of two mothers united in sorrow, sharing the hardship of protecting their sons.”

WHERE: Traverse 2

DATES: Postponed for the duration

TIMES: 20:00

MORE: Click Here! (Including information about possible disruptions to the tour)


Why ‘seeds’?

When I first read the play, the writing hooked me: the measured way Mel writes means you’re constantly trying to work out what is and will happen. It’s a real thriller. I feel that it’s unique in its representation of two middle-aged women, two mothers fighting for their sons in a world where the rise in knife crime means that too many families are dealing with the aftermath of these tragedies.

What’s the one thing about this show that everyone should know BEFORE they take their seats?

This play presents two characters often underrepresented on stage and deals with subjects that feel so urgent. It might feel tense, uncomfortable at times and triggering because of the subject matter it explores but these ideas need to be explored in order to create change. So brace yourself, you’re in for an emotive and important ride!

What makes this production unique?

The fact that it looks at those left behind after a tragic incident, years after it happened, which is something that the media doesn’t often do. I feel that, as a society, we need to support those who are still dealing with the pain of loss years later and be aware of the effects it has on families and loved ones. ‘seeds’ explores real-world, important issues, it feels like something that can touch people and be a catalyst for change.

What’s the one thing you know now that you wish you’d known at the start of rehearsals?

That this production was going to work out as well as it has. At the start of working on any project, you hope and pray that you can create something of quality that resonates with people. I knew that the material was strong, so I wanted to do it justice. The feedback from audiences has been very positive so far so I really thank God for what we as a team have achieved.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! FIND US ON FACEBOOK! OR SIGN UP TO OUR MAILING LIST!

Antigone, Interrupted (The Traverse: Feb 20 – 22 : 19:30: 1hr)

“An elegant and transparent solo piece of dance”

Editorial Rating: 4 Stars: Outstanding

Antigone, interrupted is somatic poetry, cathartic ritual, political embodiment. 

Lately I’ve been coming back to Jonathan Burrows’s handbook and something I read really caught my eye: Simple things sometimes accumulate in virtuosistic ways. 

That’s the beauty of simplicity: with few tools we treasure infinite assets. Antigone, interrupted is an elegant and transparent solo piece of dance where the Greek tragedy is revisited through contemporary storytelling. 

It is great to see a collaboration that actually depicts Scotland’s reality: heterogeneous, European, international. Under the direction of Joan Clevillé (Catalan), the body of Solene Weinachter (French) orbits around the myth while her voice lies behind, to gently comment about  it with the audience. Sortir-de-soi- the Anagnorisis of the character/performer of Antigone. 

French philosophy comes to mind. Solene’s movement seems to deconstruct the levels of the body, unravelling the corps sans organes (the body without organs) of Deleuze, closely linked with the Théâtre de la Cruauté ( Theatre of Cruelty) of Artaud- how the State exercises violence against the bodies, and punishes them (Foucault). Modern Day Catalonia’s situation (just to name one) comes to mind. Young bodies and old bodies getting hit, bodies stretching, bodies longing from freedom. This longing, along with Antigone’s moral fight, is sketched in Solene’s movement when she plays with disruption, intermittence, reassembly, estrangement, awkwardness. The conversation with Creon using her feet while talking is a defiance of power (mockery of modern politician’s gesticulation?). In any case, the way Solene interprets Creon and the Chorus is a clear political parody. 

Discovering the revolutionary body, Antigone, interrupted is also an analysis of desire. Desire blooms out of an absence. Freedom and desire are like Eros and Thanatos: they are interdependent. The dynamic and pulse of the choreography is anxious, violent, organic- the character is in Agon, in agony. The body recognises its own existence: it’s corrupted, it’s dirty, it sweats, it squirms, it struggles, it’s exposed, it’s naked, it’s covered, it falls, it rises. 

The ritual side of Greek drama (post-modern performance always wants to come back to that moment) is honored on this show. The clever configuration of the audience, oval and on-stage, improves audience’s immersion, like a storytelling session or a foliada around the hearth. Sharing time, just breathing, we meet the Catharsis. Word and movement are completely melted. It’s not just related with time or silence- Solene’s dance outlines her words and her voice structures her movement. Literal body language. Solene Weinachter has, like a friend would say, a Daimon that is shown on her multifaceted skills. The dramaturgy is clearly made for her comedy and naturalness. Despite being a tragedy, we couldn’t stop laughing throughout the show. Through dance, power and old-fashioned narratives can be subverted. Maybe the birth of tragedy was that.

outstanding

StarStarStarStar

Reviewer: Helena Salguiero (Seen 20 Feb)

Interview: Harpy (20 March ’20)

“Sometimes the life beyond Edinburgh for a piece comes in a way you never imagined. It always surprises.”

WHO: Philip Meeks: Writer

WHAT: “National treasure Su Pollard gives a one-woman tour-de-force performance in this razor-sharp and bittersweet dark drama.

Birdie’s a hoarder. The neighbours call her a harridan and a harpy, although most have never even met her. They see her hoard as a hazard for house prices. But it isn’t rubbish. It’s her life’s work and it exists because years ago something deeply cherished was stolen from her; Birdie’s not been able to give up anything since.
She’ll do anything to get this priceless thing back. Anything at all.

National treasure Su Pollard gives a one-woman tour-de-force performance in this razor-sharp and bittersweet dark drama from Fringe First award-winner Philip Meeks (‘Kiss Me Honey, Honey!‘, ‘Murder, Margaret and Me’).”

WHERE: Brunton Theatre in Musselburgh

DATES: 20 March

TIMES: 19:30

MORE: Click Here!


Why Harpy?

Harpy is one of the many derogatory terms about women borrowed from mythology. I’m sure these terms were originally used in this way by men and since one of the themes of the play is that men are frightened of women, like rich people are frightened of poor people, I decided it was a good short sharp title.

The play is also partly a homage to the sub-genre of horror films often called Grand Dame Guignol. The first of these was ‘Whatever Happened to Baby Jane‘, which was born out of cruelty. Jack Warner wanted to see how desperate two of his aging out of work stars really were. He cast Bette Davis and Joan Crawford as aged grotesques and then marketed the film by spinning tales of battles between the pair on set. Of course, these two fantastic women triumphed and the movie saw a revival of both their careers. So, Harpy has a sort of dark thriller feel to it.

Finally, the story is about a hoarder and in mythology Harpies hoarded precious things they often stole from their victims.

Harpy premiered at EdFringe’18. Does the Fringe still have value as an incubator of productions?

Absolutely. But you have to really work out what you’re doing when you take something there. I’ve tried taking plays that already existed and it can feel like knocking a square peg in a round hole. I think its best if you do something you create specifically for the environment. An idea you know you will be able to expand and build upon beyond the time and production constraints of Edinburgh. But first you have to have to focus on making it as complete as it can be for Edinburgh and have no expectations for a life beyond. Often you can have a huge success and the play will never see the light of day again. Sometimes the life beyond Edinburgh for a piece comes in a way you never imagined. It always surprises.

Of course you need stamina for Edinburgh. It’s a bit more brutal than it used to be. But whenever you feel you’ve got a huge disaster on your hands you don’t have to try too hard to find someone having a tougher time than you. In 2018 one of the shows at our venue was really struggling and I overheard one of the actors desperately trying to flog it to punters by saying, “you must come and see us. We share a dressing room with Su Pollard.”

Are there any differences between what was on stage in ’18 and what’s going on stage in 2020?

We have a largely new creative team and the director Abigail is bringing a wonderful energy to the proceedings – she’s really asked me why I’ve written what I’ve written. It’s great to be challenged so wonderfully and makes the writing process far less lonely. The production is bigger and we’ve now got an elaborate set full of surprises, more musical moments and far more nods to movies that inspired it. I think its sadder and funnier. I’ve also been able to build upon the fact that it is set in the corner of South London where I live and all the people Birdie encounters actually exist.

What’s the one thing you know now that you wish you’d known at the start of rehearsals? 

Why there are so many parakeets living in London! The reason is now in the play and it’s one of my favourite bits.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! FIND US ON FACEBOOK! OR SIGN UP TO OUR MAILING LIST!

Trojan Horse (Traverse Theatre, Feb 11-12: 1h 15 mins)

“Realistic, respectful and approached with careful integrity. “

Editorial Rating:  4 Stars: Outstanding

LUNG theatre has gained popularity recently for their creative championing of minority demographics and events neglected by the media. They have done well to establish their own verbatim style that values justice, professionalism and integrity; attributes that shine very brightly throughout Trojan Horse. Written by Matt Woodhead and Helen Monks, Trojan Horse premiered in Edinburgh in 2018 when it won both the Fringe First award and the Amnesty International Freedom of Expression Award. Trojan Horse is adapted from over 200 hours of interviews, containing public documents and speeches taken directly from public interviews. The performance follows the famous 2014 scandal that surrounded the ‘alleged’ conspiracy within Park View Academy, Nansen Primary and several other Birmingham schools by Islamist extremists, who were supposedly planning to infiltrate the curriculum by enforcing their religious ethos. 

It is in this sense of verisimilitude that LUNG really excel in honoring the story of the teachers, parents and students who were directly affected by the inquiries. The acting style was realistic, respectful and approached with careful integrity. 

The fast-paced dynamicity, and slick transitioning between narratives in the show meant that occasionally I had to remind myself that what I was hearing verbatim stories, and not born-fictional narrative. The cast (Komal Amin, Mustafa Chaudhry, Gurkiran Kaur, Qasim Mahmood, Keshini Misha) work excellently as an ensemble, representing the people at the heart of the enquiry with pride and respect. Mahmood is especially memorable for portraying an honorable image of the selfless Tahir Alam; former chairman of governors at Park View, who was banned from his role for undermining ‘fundamental British values’. 

In perhaps its most artful navigation of difficult topics, the piece covers some understandably heavy political content, which is offered in a way that provides context to new audiences without demeaning them. These moments are paralleled masterfully with moments of relief, even comedy. It feels almost wrong to think of laughing together given the subject matter, but in a way, it reflects LUNG’s message on human connectedness beautifully.

As in most of LUNG’s work, Trojan Horse really emphasised the extent that the media can influence public opinion by omitting fact, corrupting the truth and in this case, propagating islamophobia for the purpose of views and retweets. These messages are supported by the constant presence of mobile phones and snippets of radio broadcasts as a key source of communication in the piece. It is here that the piece begs us to confront how we make judgements. Why are we, the British public, so quick to believe the headlines rather than hunt for the full story? When do we begin to accept accountability for how our complacency feeds into the plague of mass-media falsity in Britain? The continuing popularity of LUNG’s Trojan Horse only goes to emphasize its relevance today, and that we still have a lot to learn from our past mistakes.

Trojan Horse is a brilliant example of how theatre can create space to reflect upon socio-political and economic matters that is both cathartic and politicizing. It is clear that the LUNG team are practicing the proactivity that they preach throughout their creative and production processes. The show’s engagement continues beyond the parameters of the stage space, with fundraising, community engagement consultants and an academic advisor. In writing Trojan Horse, Monks and Woodhead had recognised an injustice in the world and gave voice to the voiceless. As a Theatre graduate, seeing Trojan Horse highlighted the absolute necessity for my generation to utilise our privilege, and start writing and creating with/for our communities. In the words of Razwan Faraz: “Young people: do it, tell the story. Because the people at the top aren’t”.


“What are you doing for society?”

At the end of the tour leg, LUNG informed us that they will be taking Trojan Horse to the Houses of Parliament to fight for the Government to commit to a definition of Islamophobia. This success only demonstrates the power of this piece of documentary theatre in implementing real change, and I look forward to seeing what they have in store for us next. Please check out and sign their petition calling on the UK Government to adopt a definition of Islamophobia at: https://bit.ly/2NMe673

outstanding

StarStarStarStar

Reviewer: Paige Stillwell (Seen February 11)

Interview: Hay Fever (25 – 28 March ’20)

“Why not put on play where you can forget the outside world and just laugh?”

WHO: Martin Foreman: Director

WHAT: “Meet the wealthy, self-obsessed and eccentric Bliss family; grande dame of the stage and mother Judith, novelist and father David, and their two children Sorel and Simon. Each has invited a guest to spend the weekend at their country house in rural England – and each has neglected to tell the others. Needless to say friction and hilarity ensue in this classic British comedy of manners.

As we enter the new decade EGTG takes us back 100 years with Noel Coward’s Hay Fever. Inspired by Coward’s acquaintance with silent film star Laurette Taylor, Hay Fever has been popular with audiences since its premiere in 1925, remaining relevant with its astute observations of family life and human folly.”

WHERE: Assembly Roxy

DATES: 25 – 28 March

TIMES: 19:30

MORE: Click Here!


Why Hayfever?

The end of March, when the play is put on, is the beginning of spring, just the right time for something light and frothy. Besides, whether we’re talking climate change or domestic or international politics, last year was turbulent and this year is turning out to be just as bad – and that’s before we factor in coronavirus. Why not put on play where you can forget the outside world and just laugh?

If you scratch below the surface, however, you can see both how cleverly plotted Coward’s play is. Independently of each other, the younger generation of the household invite older guests while their parents bring in visitors young enough to be their children. The volatile dynamics of the household – everyone strong-minded and with few restraints on their behaviour – mean that conflict is inevitable and the guests struggle to keep their emotional balance as the repercussions ripple through the evening. And while the cast – particularly the Bliss family – are close to caricatures, there is enough humanity in each of them to hold our attention and to find their situation believable. By the end of the play it is almost a relief to find that the storm has passed and everyone has come through it more or less unscathed.

What’s the one thing about this show that everyone should know BEFORE they take their seats?

Zoe is a cat.

All right, if you want something more substantial, the fact that Coward based the character of diva Judith Bliss on an American actress, Laurette Taylor. Whether she knew that was the case – he confessed in an autobiography that was published several years before she died – is unknown. I like to think that Taylor would have been flattered by the comparison.

What makes this production unique?

The cast! A group of very talented actors, half of whom are EGTG regulars and the other half new. Everyone is very supportive and rehearsals are definitely fun. I don’t want to name any of the nine-strong cast in particular because they are all good and contributing the same enthusiasm.

I would like to say something else, but when we proposed a significant change to the Noel Coward estate that we felt would enhance the comedy while keeping the spirit of the play, they said no. Perhaps we will go back to them in a few years to see if they have changed their mind.

What’s the one thing you know now that you wish you’d known at the start of rehearsals?

We didn’t pay attention to the fact that there are far too many props! It’s a very complicated play to put on on a relatively small stage. Drawing paper, drinks, flowers are just a few things that are brought on and have to be taken off. Meanwhile Clara the housekeeper has to serve breakfast for eight at every performance. Haddock, anyone?

Costumes are another issue, since everyone has to dress for dinner and the dressing-room will be crowded with skirts coming off and gowns going on, while the men fiddle with ties and braces. But practice makes perfect and with backstage help – without which no play goes well – I expect the production will run smoothly.


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! FIND US ON FACEBOOK! OR SIGN UP TO OUR MAILING LIST!

I Can Go Anywhere (Traverse Theatre: Dec 10 – 21 : 20:00: 1hr 20 mins)

Photo: Lara Cappelli

Photo: Lara Cappelli

“A nail-biting reflection on identity politics”

Editorial Rating: 4 Stars Outstanding

Award-winning Scottish playwright Douglas Maxwell’s new play I Can Go Anywhere sees Jimmy, a caricature of youthful optimism and mod-culture, arrive on the doorstep of Professor Stevie Thomas. Jimmy is seeking help in a last-ditch effort to be granted asylum in the UK. Dressed in his pinstripe suit and green parka combo, Jimmy is a larger-than-life comic book embodiment of all things MOD and all he wants is to prove he belongs. But Stevie, a disheartened academic, is suffering his own identity crisis, fresh from a break-up and meandering in the lows of a “transitional phase” in life.

Maxwell’s latest play follows a night of both confrontation and camaraderie between two men as they share vulnerabilities, anxieties and bond over 70’s vinyl. Both Nebli Basani (Jimmy) and Paul McCole (Stevie) hold the stage well as a partnership and their conflict offers a considerate perspective on identity politics. Eve Nicol’s direction also does well to present the character’s complex power and pride driven battle in 75 minutes, without seeming rushed or abridged. Basani’s performance as Jimmy is, no doubt, one of the best I have seen at the Traverse this year and by far the most captivating part of I Can Go Anywhere. From the moment that Stevie (Paul McCole) opens the front door, Jimmy explodes to life with an energy that is both nervous and endearing, embodying a personification of rogue mod that we recognise too well from contemporary British drama.

Ultimately, I Can Go Anywhere is urging us to face the way in which ignorance governs cultural identity, specifically in the process of seeking asylum in the UK. As we reel in the hostile aftershock of the General Election, there could not be a more appropriate time for a play to confront cultural identity. At times, Stevie and Jimmy’s to-and-fro of insecurities feels symbolic of the UK’s own divided identity. Here, there is a shared sense of feeling lost and a human desire to belong. For those living in Scotland in 2019 it seems ever more necessary for us to reflect on these notions and ask ourselves: What does it mean to be British today? Are our identities defined by the cultural groups to which we belong? What does it mean to belong

I Can Go Anywhere is both humorous and thought provoking, exploring notions of belonging, solidarity and authenticity in contemporary Britain. It concludes (if not a little clichéd) with a Billy Bragg style call to arms that urges the audience to look beyond appearances and judgments. Like Bragg’s political songs, Maxwell’s play uses mod culture to emphasise the collective power of music in creating solidarity amongst people. Let’s appreciate our cultural movements whether art, music or fashion, for how they help us understand how we identify with each other in this fleeting world. Maxwell states that I Can Go Anywhere evolved from desire to show that “art is far more important and powerful than politics”. Whilst the performance’s content certainly addresses this, my only qualm would be that the play’s dependence on naturalism is somewhat limiting and two-dimensional. Perhaps there was a missed opportunity here to engage with a more progressive and interdisciplinary style of performance that might explicitly confront the relationship between art and politics. 

 Despite this, I Can Go Anywhere delivers a nail-biting reflection on identity politics in the UK’s current climate of uncertainty and stands as a valuable experience for all audiences; regardless of class, culture or political views. The Traverse 2’s intimate and open space adheres to the nature of the play, allowing the audience to see and recognise solidarity with one another on the fringes of the stage space. After all, is it not the purpose of theatre to offer a moment of unity in an otherwise hostile world? 

outstanding

StarStarStarStar

Reviewer: Paige Stillwell (Seen 12 December)

Salt (Assembly Roxy, 07 -15 Nov : 20:00 : 45mins)

“A Poetic Conundrum”

Editorial Rating:  4 Stars Outstanding

If Fiona Oliver-Larkin had a magic formula for her new co-production with Al Seed, she might have mixed a little bit of Grotowski, Kantor, Alice in Wonderland, then have added some spices and at the end, naturally, loads of salt.

Far from trying to tell a linear story whilst retaining the aesthetics of a tale, Oliver-Larkin elaborates mesmerising scenic landscapes.  A poetic conundrum where the images work as oniric pulses that are splashed on the narrative, flashing throughout the piece: a marvelous and yet threatening house made of wood, salt and crystal; a submarine in a salted blue ocean; a small lighthouse; an indomitable garden where a beast lives; a still life as a graveyard made of wooden spoons; the light of knowledge that illuminates the main character at the last moment, right after a cathartic moment of biting the forbidden fruit.

This solo show with an austere scenography -that asserts the notion of poor theatre– and a noir and avant-garde study of beauty, makes use of dilated tempos to let the audience delve into the imagery (suspension very much appreciated in mime, puppetry or physical theatre). The lack of dialogue was key for the atmosphere of the show, as well as the accurate choice of making it no more than 45 minutes long.

In this fantasy world, where the strangeness and tenderness live together, we can see a little girl who uses her imagination to escape her reclusion, and plays with daily objects that become adventure companions, while an unknown being lives upstairs. The boredom of this normalised prison makes her mind work and boosts her inventiveness, to the point that fantasy and reality are blurred.

There’s a certain crescendo in terms of character’s development: the girl is afraid of beasts and dangers whilst at the end of the show -which is the travel of the heroine- she shows no fear. And that bravery makes her see the light. Plato’s cave, or just growing up?

Highly recommended for both adults and children.

outstanding

StarStarStarStar

Reviewer: Helena Salguiero (Seen 15 November)

Barber Shop Chronicles (The Lyceum, 23 Oct -9 Nov: 19:30 : 1hr 4)

“Unbridled and Exuberant”

Editorial Rating: 4 Stars: Outstanding

When you enter into the Lyceum, white is the colour that pops into your head. Not a black veil in front of the eyes; not velvet, countless red. 

No. White.

When you grab a sit on the bottom row and see a rather elegant field of white hair, white skin, middle class spectators facing a stage where a bunch of black actors are dancing unbridled and exuberant, owning the whole place at the sound of Afro B… it’s just priceless. For once, you don’t feel in a museum but within a game of contrasts that actually mingle.Visual art at its best. 

This storytelling masterpiece is a living example of how an actor actually enjoying the momentum can warm up the audience, let it breath and even feel grateful.

Inua Ellams’ play talks about the affairs of working-class (surprise!) black men through an intimate, tender study of masculinity’s emotional and political anatomy. Stories set in barber shops across Africa, interlinked as threads (wires in the scenography help to create this imagery) pass through the eye of a needle that spins like a hanging globe  – London.

Industrial set design, expressionist lightning and alienating effects remind us of a Brechtian play. Sheibani’s canny direction is not far from that. Articulate expressiveness highlights what Odin Teatret would call the presence of the actor and lives in different kinds of anthropological scenic art – eyes, mouth, hands and feet proficiency-. The homogeneous and impressive cast work is shaped by Aline David (the female presence in the script came to light at the after-show talk, but what about the production?). 

Along with the movement, the glowing pulse of the vocal work- phatic expressions, highly marked cadences as if the sentences were sung, voice projection- makes this a great example of what storytelling is. Needless to say, the art of storytelling is to keep the audience interested, and this production managed to keep the energy well-balanced from beginning to end – though sometimes it flirts with devolving into a stream of political or cultural references. Still, that’s what we ultimately want as an audience, to make the brain dance with the play since we cannot -unfortunately- dance on the seats.  Because If I can’t dance to it, it’s not my revolution

outstanding

StarStarStarStar

Reviewer: Helena Salguiero (Seen 8 November)

Interview: Catch-22 (12 -16 Nov. ’19)

 

“When I discovered that Heller had done his own stage adaptation I knew it was something I wanted to direct.”

WHO: Hannah Bradley: Director

WHAT: “Captain John Yossarian is a U.S. Army bombardier and the last Assyrian alive, and he would very much like to keep it that way. Convinced that an entire army is trying to kill him, Yossarian desperately tries to evade battle (and the increasing demands of his superior Colonel Cathcart), but finds that there is always a catch. Meanwhile, the unit’s long-suffering Chaplain has found himself inadvertently caught up in a strange war of his own. And everyone is trying to locate the mysterious Washington Irving.”

WHERE: The Biscuit Factory

DATES: 12 – 16 November

TIMES: 19:30

MORE: Click Here!


Why ‘Catch-22’?

I fell in love with ‘Catch-22’ when I read the book in high-school. It’s one of the few novels which has made me laugh out loud. And Heller has such a way with words, it’s like reading a 500-page poem, there’s a unique rhythm which carries you through the story. When I discovered that he had done his own stage adaptation I knew it was something I wanted to direct. The timing has been fortuitous with George Clooney’s mini-series earlier in the year introducing so many more people to these characters. I think that’s why it’s persisted as a classic – the characters are relatable, even with their faults. And they find themselves in situations that we all do, subject to the whim of the machine.

What’s the one thing about this show that everyone should know BEFORE they take their seats?

It’s one of the best satires of the 20th century. So iconic in fact that the term Catch-22 comes from the book.

What makes this production unique?

We’re staging it at The Biscuit Factory which is giving the show a totally different feel. This isn’t some black box or black canvas; it’s industrial, it’s grungy. It’s been a really cool and interesting space to work with and adds another element to the show.

What’s the one thing you know now that you wish you’d known at the start of rehearsals?

The challenge of directing 14 actors in 40 parts – that’s been a real learning experience. And how difficult it is to dye silk with tea!


LIKE WHAT YOU JUST READ? FOLLOW US ON TWITTER! FIND US ON FACEBOOK! OR SIGN UP TO OUR MAILING LIST!

“The Monstrous Heart” (Traverse Theatre, 22 Oct – 2 Nov : 19:30 : 1hr 15mins)

onyK4_DA

Photography by Mihaela Bodlovic

” Elegant and attentive direction”

Editorial Rating: 3 Stars Nae Bad

An obvious symbol lies on a table at the centre of the stage.

A dead beast as the first actor of an analogy game that unfolds itself like a Russian nesting doll – the monstrous, the wild, the Other, the Mother, the Daughter. A metaphor and, ultimately, a show that rushed like hot blood within a febrile body: hastily.

During a storm in the Canadian mountains, the prodigal daughter visits her mother after a long time to seek answers and amend past decisions.

The attempted analysis of the human passions and post-freudian determinism (which of course condemns women first) with clear romantic allegories (Frankestein, connection between nature and sentiments through sound and light design) fails along the way. A good idea, but unfortunately without resolution.

Director Gareth Nicoll’s taste for Shakespearean, abrupt violence and the delicate language of gestures are as easily seen in this production as his others. But even elegant and attentive direction and fairly competent acting cannot save a flat plot and circumspect script.

A neatly conducted rhythm at the first part of the dialogue becomes a self-explanatory, polarised monologue. Rather than raise drama or empathy, the self indulgent storytelling leaves one wondering if one character is listening to the story or the actress is simply waiting to say her speech.

There’s a lack of tension all the way through the script: the position of power remains always the same, embodied by the daughter, whose acting is quite hectic and leaves no room for audience expectancy at the beginning. Nevertheless, her physical characterisation is superb. The restraint of the mother was sometimes staggered by little details (dramatic hand tics in particular), but the character blossoms once she downs a dram and the actress allows herself to relax.

In short, this is a strong initial concept that craves revision. I hope that it’s returned to, for the simple reason that the idea, the discourse, the creative team’s work and the cast have so much to offer – but, unfortunately, cannot be cured from the restraints of the substandard playwriting.

Maybe the magnificence of a living bear cannot be portrayed if the insides are not beating guts, but soft stuffing.

nae bad_blue

Star (blue)Star (blue)Star (blue)

Reviewer: Helena Salguiero (Seen 23 October)