Theatre
CORRESPONDENT
The media mediated
'It's a thrill a minute. a roller-coaster ride. an absolute must see.‘ However adept Jon Snow has shown himself as a television foreign correspondent and anchorman. you can't help but feel he'd never have made it in the world of theatre reviewing. But despite the toe-curling cliches. he's well qualified to Judge what is and isn't an authentic representation of the world of the foreign correspondent. 'lt's easily the most truthful account of that world that I've ever seen in the theatre”. he says. Performer Sandy Walsh. also a media correspondent. speaks of the issues at the heart of this play about a female reporter in an unnamed. but probably Yugoslavian. war zone. 'A lot of it is about this iSSLIe of infotainment. she says. ‘How much of an event in a war can you show without it becoming titillating. or alternatively. desensitising people to the event?‘ The question is left open in one of several pieces dealing with reponing and the media this Fringe. (Steve Cramerl I Assembly Booms, 226 2428. 2—26 Aug. 4.0:3prii, [TO—€70 (ES-E9).
BRENDAN BEHAN PLAYS Two plays portraying the life of the Irish author
Since his death in 1964. Brendan Behan's public profile has receded. with both his connection to the IRA and his dramatic output
* FROM ABATQ
becoming less immediately well- known. But here. two productions cover comprehensively the life and times of the famous heavy-drinking Irish republican and author of plays such as The Ouare Fellow and The Hostage.
A Broth Of A Boy takes the audience on an Irish pub crawl with Behan, introducing them to his world and the people that inhabit it. with an acclaimed performance from actor Danny Venezia. while Borstal Boy is an intense and physical production based on Behan's own autobiography.
David Johnson director of Borstal Boy. believes that artists and their work can move in cycles: 'Often artists. like Behan. disappear from sight. and then the real quality of their work emerges. With the IRA still factoring in British politics. the themes behind
Behan's works are displaying a renewed conteinporaiy relevance.‘
(Gareth DaViesl
I A Broth of a Boy, Hill Street Theatre. 226 6522. 2-26 Aug. 4.30pm. {‘8 ($6.50); Borstal Boy. Augustine 225 6575. 5. 7. 9. ll Aug. 3.45;)!7), 5‘7 (55.50;.
GO GO: THE BOY WITH THE MAGIC FEET Extended musical family arrives from Africa
The first time I came across Pendo Zawose. I knew I'd found a star. The fact I was in a remote part of Kenya and that she was
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VICTORY AT THE DIRT PALACE
The Riot Group returns with a King Lear for the media.
For its fourth Fringe visit, the Riot Group weds a fiercely funny critique of
the news media to a contemporary riff on King Lear. The protagonists are a pair of rival network news anchors locked in a ratings battle. They also happen to be father and daughter linked, says writer-director Adriano Shaplin, by a common disability. ‘Both lack object permanence: the understanding that objects/people which are out of sight still exist. This functions as a metaphor for journalistic amnesia, while their relationship explores gender, sexuality, power and the language of patriarchy.‘ The Rioteers’ commitment to words supersedes the need for movement. ‘As peformers we’re inspired by newscasters, preachers, politicans, motivational speakers and boxing ring
announcers,’ Shaplin explains. ‘We like official
speech; it’s a very particular type of perverse
poetry. And we prefer sitting and standing.’ In
Victory the actors are stuck behind desks. ‘l
direct them to behave like animals in
cages, forced to growl and pace back
and forth in order to express themselves.’ Victory isn’t the sole evidence of the
Riot Group on the Fringe. A student
company from Oxford is tackling Wreck
the Airline Barrier, the award-winning
script that put the Rioteers on the map
back in 1999. ‘We generally don’t like
cover bands,’ Shaplin says, ‘but we also
thought it would be interesting to see how
that piece would be received outside its
original context.’ (Donald l-lutera)
I Garage. 23.1"] 900$), .l--.’.’()‘ Aug.
7.(5’()pni, l e‘ (Vii).
scarcely ten years old seemed no obstacle to her talent. I was there in 1999 to see a show created by Toby Gouin — he of Dannii lvlinogue's Macbeth fame and Pendo was part of a group from Britain. ZiiiibalN/e. Tan/ania and Kenya.
Though by far the youngest. she acted. danced and sang the adults off the stage. It's no wonder: she's part of an accomplished musical dynasty of 48 brothers and sisters.
And for this year's outdoor spectacular the story of a footballer from the Wagaogo tribe who is spotted by a
Scottish coach Gouin has brought over 1:") members of the iéill‘lly. 'Forget the .Jackson this is the Zawose 1:3] he says. 'Pendo is now fourteen years old and a wonder to behold." (Mark Fisher)
I Royal Botanic Garden. [’20 0000.
9— (ill/lug, 8pm. 5‘70 (5‘8).
DESIRES OF FRANKENSTEIN Hollyoaks’ Sol is a Law unto himself
The producers of Hol/yoaks have fairly pressed the flein of their nubile young cast. Although they would probably draw the line
Guest List
at fellatio; you have to look to the Fringe for that. Paul Danan. beloved to us all as dysfunctional upstart Sol. should set tongues wagging when he takes the lead in a modern day adaptation of Mary Shelley's classic.
In .James Martin Charlton’s play Dalian is cast as Frankenstein's freakish creation a beautiful. but soulless 17 year old boy. llis id spirals out of control and he abuses lover Ygor with sexual and material demands
'lt's nothing iike the original.' says Dalian. Its got elements of love. the relationship
between Ygor and the monster. and the emptiness of Frankenstein.‘
Desires incorporates comedy. suspense and drama. and With such an obvioust controversial storyline. public interest is bound to reach fever pitch. ‘Hopefully some of the industry WI” check it out] says Danan. ‘And you never know what it could lead to. Maybe I'll end up with a play at the National or a great film: it's how .Iude I aw started.‘ llvlaureen Fllisi I Pleasance, 5:30 6:350. 7 1’0 Aug). 0pm. 57.50 50.50 trash 58.50;.
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