I"IV_ ",c":' 5'W:V.
rm: “ ’: ,te 'r HWY/1‘: fr, ft“ Theft '/.'.’t‘
"'al' alzt, fill'ttue‘,. 5:
the 'It‘iazzxe’f twr Ma‘s"
'».4I‘/():|(,P‘ .'.f,.": :i lift: (hr! .13 the 'ir;;.' xt'etxr‘ert uh, ell""_; no.2.“ a s;hr>.'. that "',.ll'l ll{1.é:l)(:t:ltl)l|lil{l"l :h half the time.
-<Z<~rrre Millsg,
I [he .'.//’eatfor.'.«5; Show {it} lop, fiffi' (PM). :rlllrr' .“9-1/1.,'_(;'rl()! It‘s“,
.”,.’a‘{l;)n> Its, the rs)— .’?;’At.g. Sorry. 5‘6 Ift-lt,
THE GOSPEL OF MATTHEW oooo
Telling it like it was
It us; a true test of a performer to take a s;uh;e<:t as; urisexy as; the lrfe of Jesus; and transform rt into a solo show (1(3\()I(l of props; — reliant on the pox‘rer of ‘.‘.’()l'(lf$ éll()ll(}. George Dillon took that test ain [he Gospe/ of rvfatthei'r is; our re\.'.'ar(l. A (:aptwatrrig storyteller. Dillon paces; the floor taking the audience ‘.‘.’llll ltrll‘ as; he mines the story, of a Messrah who wasn't a loritrharreu hrppy fortirxrhg of all mus. hut a flesh and hlooti man who scorned the wrttketf and feared the ultimate sacrifice: hrs; death Challenging; ariti t.lll(?|0llllllt], this; rs; a protlutttrori that t'ommahtls; your full atterrtrori
vCorrre Mrllsr
I (I. Charrrhers; Street. 08/0 70/ :3 70:3, untr/ 2-1 AJS} "‘0: ’39, (TQODNL mm 5th
GREED 0000 Style and substance of a silent movie
lhe performances are spot on. Two plates enact a domestic drama about lone found. wealth made and lot. e lost —- in the Style of a Silent None, Right down to the Man Pickford-alike ltlt‘ltll expr'eSSrons. Chaplin-esotre walk. piano accompaniment and caption cards. the Clou Ensemble have the
(I, ' gr' ( t , 'y/ 7 0 o" n K. K X ‘ « y > o n ,:\ I x 1‘ . ‘. ," ., \‘\ « u -s: m: '5 9- ' l rflis ‘. "wa. » '1‘: » “as: 1 rt: H: I: v f. {:zl-v : .10; 0% O) ’ Co' K ‘v «y \L Am 17‘?“ H(‘IK ‘7 v r t: r.“ \ ' (: ' I. ' 1 ()l 1' ‘ K‘ (‘ {r 1' "’ I I: I G 1'? ‘ Q ' \\\ t ' :t ‘ '\ . "‘ateru ’7". s; at . .'.a" z'r‘ 2' 1 . Ja' s " 7‘ M : ¥l' . 1‘ 2 ' . . . z 0 ‘7' ( ‘ ‘r v ' ;’r\/: tra/i/ (H ‘ .r' ' t ' \’ - j ‘ I v - . ‘ 2, “Cd: E51. w: wt: "I; {J're'te’tz . .y :VI“ : “'“r‘t- . :‘ tier '3. 6 . r" a' r 7733'. Lawn-'2 CW 5:? :1.'.'. '51 r .‘a I L/Yr’y," Th"! 'l'rl'l‘tl 7V1“, i‘tl(:(7lfl,l_“ :\/\’T"l.:§ " .t'nt‘ AH.) THK' "Kit; A
rss :1 WlTH PAUL N ~r m
is; "‘f:.‘sf\,£lfl‘: tt‘at rr‘er'”:tr at the: Ar'wr .2" DANI,ELS .. me} t 363» tr r. ._. '., . Wherestheold , ‘
/ .e naprtulae. X? Ja’ia 'r‘f ye" s 9 ." a t. ' .a r .t’. . magrc.
'apzlallsa'r‘ N‘rtft‘atssa f(:f'l‘Htfr'ié;3"“;lmx"? .l’lexa" In
»e.e' 'r‘o'2e"‘tr"ex f;étl(l““~l1rl1’./r" Tow-cw . f “Twit-1:. .x..i"‘s;;:7~v ;_.,m,.
".‘.‘.’":r1 I} (I (1"(X;llr' K ‘THYU'. f\ :t' . W, .. l>rll . V“ I...‘ 1' ti‘ ’. tlx :3. l'tl.’”~ *Il’WV l.'1“:“~t’-’:lft<:l‘ :>:ll‘lte‘.s;;lrltf""war rtl'.'(l"".§}lil"vt' 5' 11"» a: U ' u:
I /,),y,(’it)i«1;~/H,; (:‘rt‘l,"'('l~( I" it”; /~ '0' t; urn}, '\‘: zpé‘ Knuth, . \g:r \xdf..\_ "_“_:..‘ " "f2 ’I‘K'V‘fr. .l'h' . "r flag. _;r"frs;r,utt-:l ‘lvlar'a t‘t l" a u? l’._.v‘ “ T'Wu 4', it“), " "WWW. :3“? “Fl :‘(r '7 [)arfa' tens; her s;‘_rv‘, lit lira". 'T's: ti“ a. {'1 : :x'
f ' )(‘fl lllfr,
art. a {iiill‘t‘Il r‘ttrlrff‘riritf a'ttll REWARD coo
Following a dream
llt't'iIltl'l “i'il‘ll“ ‘n.'."<"
LAST OF THE RED HOT DADAS OOO
Celebrating the avant- garde
quest for ssexua? giralrfrt‘atrori 'l‘atl mes; t'w tr-r
Garheti :r‘ Katt‘rv‘ l‘rer es: ‘.“.’oo<i's; outrageeus‘.
Eva! that rou .t' ; what ,. ..tlir\t‘.3
.l'llf?l(‘f%7|ll‘rlli“1fl'l‘l’! (as! "er .i r". n" t'r‘et
narrtt‘, attire. Auuelo's; pros; tiltllrt. t": l‘lii'l‘t’} ‘.'.«:-:r, it . .t llllffflllmilllt; Baroness; Flea ‘.()lt f‘reytag lorrhghoweh «- a ‘.‘.()ll‘.£lll
l. Ltlttl‘fltw, (1"‘l,.'.tt.l Sl‘es; the prett‘. writ".
parlour ar‘ri aurfreht‘e gililfll‘rll the lllfi‘s‘ "‘tlsw‘
[)(EllOlll‘éllKit‘: rs; \. rrtuailx, faultless. (:omx: poteritrai is;
«i’u'tiurl'xl, atlet‘rf ites;
though the the ta'r‘rli, funeral
12 ANGRY MEN 0000
Court in the act
Reginald Rose's American liberal classic is a house-filler on any occasion. so there‘s no need to draw the usual parallels between it and situations both national and international where bigotry has replaced legal process. Actually. people will want to see it most of the time.
The story, if you haven’t seen the film. has twelve jurors deliberating upon a death sentence for a young man of immigrant stock who has ostensibly murdered his father. The open-and-shut evidence is queried, at first, by only one juror, but gradually by each in turn, and debate becomes fierce. The crime becomes an issue of perspective, examining the subjectivities of these dozen flawed, and sometimes bigoted, men.
What‘s interesting about the piece is the idea that relativism and perspective could be used as part of an affirmative political credo at the time of the play’s original composition in 1956. Over the last 20 years. this same idea has been used as a motive for apathy in contemporary art. Guy Masterson’s production realises well the tensions of the text, and if the gimmick of employing a cast heavy with big name comics has a couple of drawbacks, it also shows some real acting talent. Stephen Frost’s performance as a man whose bitterness with his son distorts both his judgement and temperament is compelling, while David Calvitto’s baseball-loving non-thinker is also strong. Generally, it’s well worth a watch. (Steve Cramer)
I Asserhh/y Rooms, 226 2.128. untr/ [3:3 Aug. lQSOp/h. .“ list-5‘73 With“) Ir.
Soapbox jury
1’ 't (30 \0' \0V \0 fl\‘ r n t..'..' fi.’ '."t“ “Li ‘ .k A"\: 11‘ u l ' \ O {V ‘ :x\ z ‘ "XlJ‘t‘ .. t ’ 1‘ If"! .i: l ' . .. 1' \t\‘ A t3\\ . 1'1!" 1 t "tlt' "i r ", ‘. rvt ’1 n "e' .Qt..f'rt‘m’f l’~~ u fa’a- .r".1 :‘ogir‘art‘,
:."’.'.l,.lt .i t‘trm" a
.f ' 1"" \I' it '.2.' ‘, 1 ("l .l'” :er‘;ts;.rt!. "t "axlvte'w" l' {\l u z' 51".“ r 'r: 2": e1. .l'lt‘r'K:
. a t'lat .‘..:r"‘
2.. . . t‘t‘lu»: L'Ml.
"at" Wit ultrlt‘afe
t‘ vtirs‘au'ia"
MnMu wt;
I \Jt‘t.‘ Britt‘U" r‘yt‘. r‘f,
..'~‘. »‘ ,kll‘.‘ ‘kfl; r‘\")"' \(3 ( l) \l
THE RETURN 0.... Doesn't run on rails iresm l'tltik l’rorful'tr >rrr. riarls; all the lrorr‘ Ox. preceded tr, its. 'eputatroh as; Adelaide's, 1’00? Heat Il‘. l titttgr- .‘xrririeriy Aritf if you haveri't alrearfx. heart) the word about ton-m. make no mistake, ll‘; l)l(3f;(:llti(? lll l’rirrilmrqh is; more tharr ‘.‘.’tf|(;')lltt.‘ Dllfn’llffd bl, ('i(:.’)ltlrtr Brookmarr, the Eltillt)“ takes pram,- orr a tram travelling; frorr‘ Perth to l-reemaritle. lhetiuarrfs. are on strike and I‘M) irfle ‘thugss'. Slew: rAlrt;lal' Scott YUllllflr aritf Trev rHOfllEll‘. Vaculrkr. lllllll‘lfléllf: their cop; sassehtier‘; rrito a (fisspute .‘rhrr;h triggers. a spate of tt:."(:l£lll0llf‘) V‘Jriter Reg Crrhl) explores, elasss. stereotypes. and era‘s, ‘./o~,'eurrsrr‘. hut predictability 18 replaeeri .-.trth ah (:(lgfj-Of‘lll‘} seat plot Seott Young", (;r)ritrollt;rf perferrrarxee. balancing maehrsgrrto 3/th rhetorre, and l rarrs Gemer's If re more. CUHTYIUHIUIUlllitkt'1lll'7; a must-see. lAririrea Harkrrtr I C. Chambers St. 0870 WM 570'"). (mt/124 Aug. (2460/72, 58.50 077.5%.
for GLASGOW THEATRE see non-festival magazine