if I was Wilson. but he continues without a falter. I'm about to make a joke about my being recognised everywhere I go. when I realise that Wilson hasn't noticed these gee/.ers at all. I suppose if you get used to such things. you cease to see them.
All the same. it brings me to the subject of Victor. So is he a curse'.’ ‘()h no. he's not a curse.' he says. ‘He changed my life for the better. It was the first time I had a choice to do what I wanted without worrying about the money. It was wonderful to do. and very humbling that it became so popular. People were so affected by his death. All the same. it's very strange to be identified with a character. It's not a curse. but there are times when I wish I could escape Victor.'
I'm really more interested in Wilson's process as a director. An early exponent of improvisation in British theatre. I ask him how his interest in this form of work — and in directing — developed. It sounds like there was a certain amount of pragmatism involved. ‘I had no intention of becoming a director at all.' he says. ‘lt wasn't part of the plan. But I liked to do improvisation classes. When I was at RADA they didn't do improvisation. but I always wanted to. because you could improvise in
ESCAPE l Scottish. so you didn't have to worry about RP.'
All this has led — after a move to Iingland in his early 20s. then several returns as an actor. first at the Citizens' then at the Royal Lyceum. and finally a triumphant performance in (iordon Macl)ougall's production of Waiting for (1min! late in I967 -— to a distinguished career as a director. ('urrently based at the Royal Court. Wilson came to this project through the theatre's contacts with the very visual and physical company. Told by an Idiot. And quite a project it is.
After the success of the Presnyakov brothers' play. 'll'rmrism. earlier this year. the Court was keen on a second play from the Russian pair. This is it. The strange. darkly comic story of a young. educated waster
I WISH I COULD
'A play that’s a - - , w Item, I cast
lncllned to physical theatre, and a dlrector prone to mtntmallsm'
‘IT'S NOT A CURSE, BUT
THERE ARE TIMES WHEN
whose only real interest in life is playing victims of violence in police re-enactments of crimes. is a weirdly compelling read. I asked Wilson about the reaction of the Presnyakov brothers. who visited the company recently. to the prixluction.
"We pointed out the possible problems.' he says. 'You've got a play that's a kind of psychological farce. you've got a cast that are inclined to physical theatre. and a director who's more prone to minimalism. Could that not be disastrous'.’ They said no. it could be interesting. They said they didn't like their plays to be predictable. they wanted to surprise their audiences.‘
This production looks like doing just that. ‘Told by an Idiot had heard that I'd directed some physical theatre. so they asked me to read the play? says Wilson. ‘It isn't my usual cup of tea at all. but I liked it. We're quite different in approach. so I think they're leaming a lot from me. and I'm leaming a lot from them. It's quite a whimsical play in places. and very philosophical in others. I'm trying to encourage the cast to give the characters more substance. It would be easy to play the characters as archetypes. but I think they need more. So we're a week into rehearsals. and we haven't really started to move it yet. I tend to leave blocking until later. They're a young company. and they're very responsive and open to what I'm doing.'
I ask Wilson about his (lreenock origins. and he confesses to the occasional visit home to a sister still living in the town. In recent years. he was given other reasons to revisit his west coast roots. ‘Being rector of Glasgow University was an extraordinary job.' he says. ‘I used to hold surgeries. I'm not allowed to say what went on in them.'
And he raises his eyebrows and gives me a look that suggests that whatever it was it would've given the Brit Art crew pause for a bit of ‘you what'."
It's a great moment of humour in a generally good- humoured old boy. I-le's fun to be with. generally. Another irony. given his status as Britain's best known grump.
Traverse Theatre, 228 1404, 12-23 Aug, times vary, £10 (£7.50).
Toldbymldlotheeepentun
O Rldleuluemus Two shows this year from the eccentric two-man team. One is Ideas Men. about an inspiration shortage in the creativity department of a big company. The other is Broken Comedy. an hour of ottbeat humour. Ideas Men, Theatre Workshop. 226 5425. 20-24 Aug, 1.30pm, £9 (£6); Broken Comedy. Pleasance Dome. 556 6550. until 25 Aug (not 12, 18). 9.45pm, £8.50 ([7. 50). - o 0 Brothers _ Inventive clowning ' k to take stand-up comedy onto a more silly and creative plain. Gilded Balloon Teviot, 226 2151, until 25 Aug (not 11), 6.30pm £7.50-E8.50
0Tb. llluolon
(£6.50—£7.50). O The PM, the Son and Holy Mono A middle- aged dad and his maths - genius son T in a non-verbal comedy trom Finland. Gateway Theatre, 317
3939. 14—25 Aug (not 22). 10.15pm, 17Aug, 3.15pm, £9 (£7). 0 Bode Bodb The multinationd team
bank robbery. Komedla Roman Eagle Lodge, 226 7207, until 24 Aug, 9.20pm, £7 (£5).
0 The Concert Award-winning hit show
rmsicimswhogettheibigbredt l withthet-lelsinldSymphony i OldiestraAssemnyl-‘loormm 2428, unti24Aug(not11), 10.45pm.£9—£10(£8—£9).
7-14 Aug 2003 THE LIST FESTIVAL GUIDE 65