fOIEEVCL 9am-1pm theatre comedy dance music books
memos Static but
Formidable reminder of inter- connectedness
Unlimited Theatre’s intelligent and powerful production simultaneously tells the stories of a young British man’s journey home from work and a young woman's trek through an Eastern European country at war. As she matter-of-factly describes the violence and carnage surrounding her, he shares his observations on modern life and everyday minutiae like getting the bus and going to the supermarket. Their existences intersect when he reaches home and sees her featured on the news.
Static is a formidable reminder that what for us often constitutes inconsequential words and images on television are live action snapshots of others’ horrific existences. Terrifying, tender and compelling. (Dawn Kofie) I Static (Fringe) Unlimited Theatre, Pleasance (Venue 33) 556 6550, until 28 Aug (not 2 7) noon, £4/£5 (£4.50/£5.50).
THEATRE
Shakespeare's Most Dramatic Scenes **~k Embarrassment evaporates in Bard- burrowing exercise
This 90-minute workshop attempts to fill the gap between theatrical performance and the academic world. Not for the self-conscious, it involves exploring a scene through group interaction. Starting in pairs and progressing into small units, participants create their own interpretation of the text.
The enthusiasm exhibited and exercises undertaken (which include pacing the room repeating lines) mean that what begins as a daunting and potentially embarrassing experience soon becomes fun.
Although it claims to be for people new to the Bard as well as those who are well acquainted with his work, it is probably a more rewarding experience if you have some knowledge of Shakespeare. (Dawn Kofie)
I Shakespeare ’5 Most Dramatic Scenes (Fringe) The Fleming Premier Banking Shakespeare Workshop, The Quaker Meeting House (Venue 50) 220 6109, until 26 Aug (not 20) 71am, £6 (£4).
THEATRE Picasso's Women Jacqueline ***** Francoise *tt Obatttt
Dora H Women scorned bite back
It's a fascinating project, painting a theatrical portrait of Picasso composed of monologues by the women in his life. Six of the eight written by Brian McAvera are being presented during the Fringe,
performed by star actresses. They can
be viewed independently, and in any order, but the experience of each is enriched by having seen the others. Having said that, there is only one
Geraldine Fitzgerald as abused shrew Olga
"“ M 4,1,.“ ‘, ‘4' . '.
Susannah York is riveting and luminous as Jacqueline
amongst the four I've seen — the Jacqueline of Susannah York - that ranks as a must-see.
Picasso's women were calculating rivals for the attentions of a male chauvinst genius. With spare, stylised settings, the plays are McAvera's interpretation of their respective takes on the man and their impact on him and his work. Listening to these confessional, retrospective outpourings. we build up our own fleeting, fuzzy image of a great artist who was obviously a literal and metaphorical prick when it came to the opposite sex.
Chronologically you must start with his first wife, the cultured ballerina Olga Kokhlova. Resembling Popeye's Olive Oyl relegated to a purgatorial, sub-Chekhovian grove of bare planks, Geraldine Fitzgerald lays on a theek Russian accent. “Do you think I want to be insufferable?!" she asks us, hamming up the comedy without sacrificing the pathos of the
abused shrew Olga became.
The shortest monolgue is that of the unstable, gifted artist Dora Maar, whom Picasso wound up committing to an asylum. Toyah Willcox is well-spoken, rather than inspired, in the part. Francoise Gilot, another talented artist, bore two of his children. Amanda Harris plays her as a fiery and formerly
girlish intellect out for revenge.
In a league of its own is York's stunning rendition of slyly determined. stiflineg devoted Jacqueline Roque, who was with Picasso until his death. lnhabiting a set like an empty-framed haunted house, York is riveting and luminous. Hers is the most complex, three-dimensional characterisation, and the only one who makes you truly believe her love, however misguided, for the man in question. The writing here, too, seems deeper and more poetic. Perhaps it's because York has that great actor’s gift of making it seem as if she’s performing just for you. (Donald Hutera)
I Picasso ’5 Women (Fringe) Assembly Rooms (Venue 3) 226 2428. Jacqueline, 78 Aug, noon, 21 Aug, 1. 10pm, 22 Aug, 70.30am; Francoise, 17-28 Aug (not 23) noon; Olga, 77-28 Aug (not 21) 7. 70pm; Dora, 77, 19-27, 23—28 Aug, noon, 22 Aug, 2.30pm. Josie Lawrence as Gaby and Candide Benson as Marie-Therese share a double-bill Aug 22-28, 2pm.
KIDSTHEATRE The Ugly Duckling tithe
No ruffled feathers for musical theatre company
The old favourite about the ugly duckling who turns into a beautiful swan has long been a winner with kids. But like any children's theatre, it stands or falls on the performers‘ ability to engage and relate to its young audience. Fortunately for us, the members of XNYMT have talent oozing from every pore. All formerly of the National Youth Music Theatre, they sing, act and play numerous
Unengaging satire tron Papa Was A Bus Conductor
instruments with such ease that every child (and adult) in the room is spellbound. Not least because everything, from the colourful set and fluffy costumes to the simple singalong songs, has been set to the children's agenda rather than their own. (Kelly Apter)
I The Ugly Duckling (Fringe) XNYMT, Pleasance (Venue 33) 556 6550, until 28 Aug (not22) 17am, £6 (£4).
THEATRE Kassandra **** Shakespeare meets Platoon in hard-hitting drama Sourcing elements from Greek tragedy and Shakespeare's history plays, this startling new play marks the dramatic debut of lvo Stourton. In the bunker-style venue of C Underbelly, the bloody conflict of the Vietnam War is brought to vivid life as two sergeants battle tragically for the love of the same woman. Shakespearean blank verse is peppered with modern expletives and, although this sharp juxtaposition jars at first, it soon creates an extremely strong fusion of styles and is delivered with force and passion by the talented young performers. Incredibly well-scripted, Stourton has conceived what amounts to a
modern classic and no doubt this show will run and run.
(Catherine Bromley)
I Kassandra (Fringe) Double Edge Drama, C Venue (Venue 34) 225 5105, until 27 Aug, noon, £5.50/£6.50.
THEATRE Papa Was A Bus Conductor ** Abrasive farce fails to engage Papa, a trained Shakespearean actor, left India for Britain with dreams of acting on the stage. Unfortunately in Blighty he gets nothing but bit parts from his avaricious agent and a continuous stream of abuse from his crazy, drug-dealing harpy of a wife. One Nation's satirical farce attempts to bring the marginalisation of British Asian culture to the fore and also explore the racism, violence and hostility experienced by this social group. It does this up to a point. There are comic moments a-plenty, but as contemporary and challenging as it may be, this production is often abrasive and fails to engage. (Dawn Kofie) I Papa Was A Bus Conductor (Fringe) One Nation, Gilded Balloon Cave (Venue 38) 226 2 757, until 28 Aug, 72.45pm, £7 (£6).
24 THE LIST FESTIVAL GUIDE 17—24 Aug 2000