Theatre
develop either.
rlvlar‘k Rohertsonr
I Gilded Rat/ooh. 926 7 75) Y. (int/i 2’3 Aug. £.’.2:3,'_)rrr. 5‘6.
THE PLAY 0’ THE WATHER
We forecast a hit 0...
With the chancy \.'.reather herng the favourite suhrect o‘ conversation :n Scotland. lt's gurte appropriate that One of the earliest Sup/Mpg plays In the anlrsl‘ language. whrch deals with this trrrteless suhiect. s hrought up to (late hy translator dern Stryen and :1 east of farnrlrar Scottish actor's.
Perforn‘ed in verse through a fog of thick Scots :anguage. characters fron‘ drt‘ere'i’. corhrr‘unrtres and occupations appeal to Jupiter for hotter \sxeather cond=t'or‘s to surt their own personal needs. The en‘pty roo'“ rnto which we are frrst led soon turns rnte a hreere ot Irfe. fur of song. crude Jokes and exc allei‘t characterrsat'ons. There are flawless pertorn‘ances. especially tron‘ Stepher‘ Docherty as our (ilownrsh host. llvlererrd \'\’rltran‘si I [he Srhrrho” Underbelly. (if-3H) r115:
ROI-3‘3. trot/l (’5‘ flag Mir?!
VICTORY AT THE DIRT PALACE Power and the media exposed .000
7/1. 91/. Ltd/torn. .(\/'*‘.(\/'.CF)() (5h f‘h‘xVh
THE TAMING OF THE SHREW
All male cast fancy a shrew COO
Fron‘ 7ttt‘l‘§tl“.'.’(‘. the all rt‘ale. n‘ulti-raczal. enterprising Over the Edge con‘pany return with Shakespeare's con‘p'rcateo’ sex war cornedy. Not as 'W‘ag'ca as last year's five/f??? Night — partly because the plays not so good and Is less sartahie to douhtrng of parts It str'r has therr trade'r‘arks: exgursrte. detailed <t<>st:r'r‘.es. fluent xerse speak'hg arid (torifevr‘r>or'ary '(?'(?\.£tlttft?.
The Riot Group rs hack to Its hest thrs Frrnge with a dam and pox-xerfui satire uttered rn a unroue voice. In Victory a father and daughter r)ccupy r'yal news anchor positions rn two US broadcast'ng corporations. When her trrheslot rs moved We a ratrngs clash w'th hrs. there are explosrohs of petty vanity and ego. Each of the two has an assrstant rand in her case. partner: rotent upon. rntroducing them, and the schen‘rng makes for an ntense watch.
The tight. Clan‘rt‘y space of the Garage upstarrs studio suits the Roteers to a tee. tor rn close proxrmrtv there rs little escape from this unscrupulous hunch. of shysters. nor fron‘ the drrvrng. Insistent rhusrc of the piece. as rt resolves rtself. complete wrth. the odd 'xerhatrrh guote, Into a King I ear for a conten‘porary media (tu‘tur‘e. tvleanx'xhrle a succession of strrkrhg phrases with. ragged edges.
like ‘krss a duty Fetter" an result derived ‘rorr‘ a r:r‘ed:t ’iéttfl traird r:or"'hr’.terl early
UH. recur rh‘,'thrr‘!rt;ti",' through the Text to up the ante. ’il't‘.£l°.l"() an ‘lttitt‘éthlKl
l(}llf3l()ti i’?‘.‘.’£t"(l‘3 “‘1’ [bit‘
lhe sartlrng finale rs
" denouen‘e'rt,
tee. cleverly accomplished. am! the plays gender polrtrris
hr‘rng a fresh perspective to King / ear itself. already a play with a fasr‘lnat'rig
suhtext ahout sex. HOV/(3t and gender. lhe perforrhers are taut and g'tted. and
the play. despte sl'gl‘t over‘iength, holds; titr‘; gtt'ffi-rttlrfit time nod to ervl.
rfSteve ()rarherr
It's not helped hy a set of tour see through dear trarhes. and the "rst eight lights were a 'Ittle tentat've. yet rt still delights In storytelling ar‘d excessrhrlrty. 7ane F l :rcas rs gloriois as a purp‘e-c'ad slender spiky Katherrna and Adam Neil's Petrucnro rs the sexy n‘rsogyn'st we a" thoaght he was. If this is a "elatronshrp. no wer‘der so n‘ar‘y people are single. rJohn Brnnrer I Augustine's. 22:3
(i575. 7.45;)!77. 519 If‘h‘r.
PLAYING BURTON
Who‘s afraid of the afterlife? COO.
lwo chairs. a tahle. {il‘ ashtray and a hottle ol vodka. Richard Burton has all he needs in the afterlife as he :r'r‘e\.'er'ently recalls the good and the had trrr‘es. \“.’hat a "(?"»‘£tt'k£it)l(é monologue: dense. tu'ir‘y hurhane and deeply literate.
Ariter a'rd ‘.'."'r‘.er George letter captures the deep toned excess o‘ this very great actor with lar‘ohrri ease l: 's 'hdeed rare te ser- a'i‘.th'r‘g Th's £t’7(1(\lt‘[?lif§t‘.t?(l ant: tarih. "“'Fi|lf1‘?(l a‘. the l "loge. 8rtat<>lr:g':'al rheh‘o'es ttrrr‘hle frnrv‘ the hlaie Eyed ruff ar‘.
ll‘e ‘.‘,r'r>lsivr‘ah .'.r“<> taught the l rig! sh how to speak the'r owe language positrv;el\,' cones airte in this exr‘eliertt show A \er‘, (:ovisrderahie a(:l‘.re\.'<:-vr‘»ent. ll’atrl i)aler I Cate Royal f "Mgr? fhear‘re, amt; ("t-15). :r‘rtfr'
76-? Arm. -Z..r‘/‘Ir>m. r‘f.
SOMEHOW I FEEL DIRTY
Wristy business .0.
Ren‘e'r‘her that trrs‘. ;a// n‘ag? The horror oY' the slow dance at the school drsco’? The awkward slohher of your first sr‘og’? No? Well you Will when you see Fuse Theatre's funny ar‘d frank production r‘har'tvng the first t‘.'.'eht\. years of fine sr‘hool then/ls~ l rrst a'id tor'en‘os‘. a great shov; for teens. there rs sorr‘ethrng for" exeryone here as the astute ohseryatro'is 'r‘ade hy the xersatrle young; actors hate a wide
l xtr‘en‘ely ‘~.'.'el| s<tr‘rpted. the performance :loes t‘t)‘.‘.'t}‘."}l softer tror" ar‘ out of‘ porr‘t. lo the f;'t()'.'.. as n reality. the teens seen‘ to last torexer' and as these years linger on. the l)(?t‘lf"l‘ttt"(i(? tl’éttltlélI-‘. 'Lll‘rf; out at stea'r‘.
(Zatl‘errr‘t: B'r‘rh'ey
I H, CH.” .xf'k‘» 0/00,,
‘1 UNI > 7/
(/ ( X 1 3/‘\tl\(;. I) , 't'ttl J} )/
BOLDLY BLUE Badly blue 00
It's only 'm'ttl 0." hate. I‘vleahrr‘g, tl‘ s 'rxrsrca. r'e‘.'e‘.'.' ot 'ttifuiis adults onl‘.’ so'tgs s“. ‘.(}'*. lrltl“, a“. all. Dim": panther l adx tJa.r‘e. our
hostess ‘.'.'!‘.h rr‘o'e tha't rr‘ost hostesses. rather :toyiy exoses ‘r‘tt‘y mm»; and hues f're l'ies. /\ll(l. apart Travr‘ a rather ‘ah.rle..s st'lettt; shoe shaped seat trove. aud:en<:e "‘e'r‘hen; ita'trcrpat'ng r". the f§'l(‘/.'. get ti: sit or‘.. Hero”; Hues not men. tr‘tres. ertl‘er: \Jayne's nocars arr“! up there .'.’l7.li those had girls of the coo‘est decade and Me aux/‘ut Roland keyhoar<' £1(‘.(Z(‘,t“t)étltt't‘i‘tti destroys 21th. netror‘ that this rs a retro «w:>lei\v‘zitr<\r‘;. It's :trst .‘r
::-oor drag art with
The Play 0' the Wather
added krtsch. a shou‘. .'.'l‘r<:." et". 'r‘e teeirng our; i;i..e.
'Mles ‘ relzierr
I fr'r‘x f)‘?'eet it‘eaf'e. H.913 (5:399. art". 26 Aug.
Sip/rt, 5‘ ’0 51")».
CRAVE
Kane’s classic revived 0...
la ar‘- ar‘dergr‘ound can-ere or the underlie" y or: a f3"“t)l(}. oeautrftrll‘s. irt. set adorned .'.';tn ‘a=r‘~. tights ar‘d detritus. a gating i‘o'r‘paa, :lo son‘etl‘ha ti‘a'. '."..':7‘.'. The rm
“ha-a. '.'."<:ve anhyped.
‘or t:>'..r' ': drf‘r‘vren‘. aspects ;>‘ The sar“e oersor‘;i‘:‘.‘.. speaks at (lsat‘ect'orx the need for lea-r: a";: the "‘niiwtt. ti: arverw '.'.l‘<*rt r‘. .i(\'“-;"f;. \l<\r‘at"a-" rlerr‘“ :t."e;‘.s ‘:>-.r' the ,:>.x‘.g :i<‘ " " e ‘r""‘a' :r'ess. f.'.r‘ rt '. WWI £1!‘(lf§i\".‘.‘.. throagh a r'“<“.r"{; a":: heanfifutlx trrr‘ed
expter'a‘mor‘. of the "n":
Go arvr n‘aKe the (lrsr‘o\.'ev\..
Stexe Cran‘err
I The S‘mx'r‘o‘t
,/ ' /‘H «x a ‘r '3‘ f‘tlxi
TELEPHONE BOOKING Book Festival 0131 624 5050
Fringe 0131 226 0000 International Festival 0131 473 2000 Film Festival 0131 623 8030
I [he Garage. 297 (iii/it). :rrrtr/,’1(i/lr/g. [Ki/iprr‘, ,t'li «rt-5,. ranging appeal.
..: . THE LIST FESTIVAL GUIDE 61