Theatre
JACK PLEASURE
Pornography. buses and bikes 000‘.
Don‘t be fooled by the salacious advertising for this show. Terry, 8 36—year-old bus driver has left his wife and is sleeping on his old school socialist father's couch. Terry loves porn and dreams of escaping his grim childhood town (somewhere in the Midlands) to become a porn star named Jack Pleasure.
Adrian Berry‘s follow up to last year’s superb From Ibiza to the Norfolk Broads is something of a disappointment. This slow sad exploration of one confused male mind condemned by nurture can be clunky and self conscious with a group
of characters who are simply too drab and 'annoying to propel the
viewer through an hour and
a quarter. The acting
however is great, especially
Andy Fox as Terry. . /, (iii/f, /”.' ., "f
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MUMBAI MERI JAAN
Bollywood without the spice 0
(Paul Dale)
‘.'.'ould be to go for irony. make light of the corny plots. stereotyped characters and populist tricks and do the whole thing tongue in cheek. Sadly New Delhi's i'eaini.'.'or'k l ilms does neither. l.'l this amateurish E;tl()\.‘./.
‘~.'.i‘itteii by Sohaila Kapur
in five days why so long’.’-. The script might be deliberately cliched. but that doesn't make it
CARGO
Claustrophobic drama 0..
In June 7000. when Dutch haulier Perry Wackei‘ suffocated 58 illegal Immigrants; by switching off his ventilation system. Europe's underground Industry in human trz‘ifficking was forced painfully into public coiisciousness. Ben Richai‘ds'
of the UK's immigration s Istem.
Following four Croatian refugees as their hopes and dreams barn bright then fade to black. Cargo is an intelligent and powerfully-i)ertormed exploration of the immigration issue. (Catherine Bromleyi I Pleasaiice. 5:36 (55:30, 8, IO. 12. I4. le‘, 18. 2/. 23. 25 Aug. 72.3()piii, 577—578
instruments with movement. mime. humour and rock music. DoodRock is more than just kids making too much noise.
Children will love it for its colour and vibrancy. adults for its primal energies. But what this show lacks. despite feverish attempts to bridge the divide. is any real contact between performers and audience. There is an uncomfortable feeling of disconnection that threatens to make the music repetitious. though the constant deployment of new instruments wards off the worst pangs of monotony.
Though probably too loud for Aunt Maud. getting tinnitus has rarely been this much fun. (Gareth Davies)
I Gateway. 3] 7 3935). uriii/BGAi/g. 7pm, 5,10 (5.7).
THE AL-HAMLET SUMMIT
Not quite a palpable hit 0..
An interesting take on Harri/er set in the Middle-East where Shakespeare's well- known characters sit in a summit meeting discussing the country's unrest. They talk into microphones. looking directly at the audience. sometimes at each other. always With fear. With innovative ways
addressed amidst his wider political concerns. Unlike other versions. peace isn't restored when Fortinbras returns and happy ever after doesn't start when the play ends.
(Mererid Williams)
I Pleasance Dome. 5:36 (5:350. until :36 Aug. «1.15pm, 57.530 l‘8.:’;() (55.50 515.50)
ORDINARY MIRACLES O.
Losing magic in translation
Combining magic and melodrama. Turkish author and TV actor Kubilay 'QB' Pumcer's story about a love affair between a (IOlljtlTOl' and his assistant sets up an interesting premise: namely. that when you fall in love you give yourself up to an illusion. The combination of magic tricks and emotionally-- charged theatre is novel too but what looks good on paper doesn't always hold up on stage.
Sadly (and not only because its actress Lale Mansur faces a possible 15 year prison term for speaking out against the state on her return to Turkeyi. Ordinary Miracles aims high but misses the mark. Ambitious sound and lighting effects are detrimental and the performances
-'-'r- and you interesting. and the clatistrophobic drama of regurgitating familiar weakened by a -'-<:t~:,"..l-l. litillt} crude acting and oddly recreates the horrific (YO—£7). scenes from the convoluted script in a “xx; cal to inauthentic songs make conditions that asylum original. the direction show that appears not :g;-.;. *.-.':,::'d at seem like an under- seeking refugees are DOODROCK and the textual guite past rehearsals. 7“7£, '. ‘»'."£‘i”.l"t. rehearsed community forced to endure to Korea's diStam adaptation fits well with (Catherine Bromleyi l . . I leg. ti sl‘o‘.'.'. ‘iVlétl'K l isheri gain access to Britain drums' ... the political backdrop I GHfOl/Vt’it’ Theatre. : '::?"(:st"a I Iran'ei'se Theatre. 228 while it also explores. Korea's current most and is only awkward 3 l 7 (1035), (NW 26 Aug ' k hi it 7-104. until i' I Aug. with great sensitiVIty. popular export? Drums. when Hamlet's personal (not 14), 9.30pm, 5‘5) ' r ' r it » ' times 5‘74 (ft-LEM. the flaws and injustices Combining said issues are briefly (5%.
the political pack.
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OUTRAGEOUSNE“WAMERKMQJCOMEDY! . 1
‘Best NCW in Boston’ THEATREMIRROR BOSTON GLOBE '
eagerly attaitcd ncu play, world
Mr, Ji “,0 "Hiaflmf
ii, is a sha'p edged satire on
(reward a'. {'10 Assembly Rooms.
post apa"‘.'ici(l South Alma. \X/‘tci‘ Mto buys a house next to 7 Brandon
Toropm'
('x [fio'tlc' Patrol (itiard Ji'nmy, the
suburbs E)(‘( or‘ic the new front line.
3.55 pm 31 July ’ 25 August venue34
A CA M H o U s t CHAMBERS Stern
0870 701 S105
directed by Betsy Carpenter
Edinburgh Festival Fringe 2002 wuwcdfringexom Fringe Box Office: 0131 226 0000
Performances August 2nd - 27th at 3.30pm. Il( kcts from the Assembly Rooms Box Office: 0131 226 2428.
66 THE LIST FESTIVAL GUIDE