flashes of half- rernembered flashback detail. With lips. teeth aizd a tongue that must be the most watchable body parts on the Fringe. Goldsmiths lilting Irish ‘JOICe brings a tonal depth and audial dexterity to the words. in a mouth-only performance which would beat many other full—bodied actors on the Fringe. Short. sharp and smart. this is Beckett at its best (Gareth DaViesl I Assembly Rooms. 226 2428. until 30 Aug (not 76. 23). 2. 70pm, ljfj.
HEAD Sterile contemporary love story 0.
Zoe Simon's play is a tale of love amid the scumheaps of a London housuig estate. With a sidelines take on the impact of language on everyday lives. It's a dark and murky story which doesn't quite have the clarity of writing it needs to make any real impact on its audience.
It looks and feels slightly too much like a student production — the set is scrappy and the performance area is too restrictive to allow for an effective/interesting use of space. Cold. without much humour or characters rounded enough to empathise With. Head is too sterile for any real dramatic effect. (Gareth Davies) I Underbelly, 0870 745 3083, until 29 Aug (not 76), 4. 75pm, [7.50—8.50 ($650—$760)
CHRONICLES - A LAMENTATION Epic physical theatre from Poland .00
Song of the Goat Theatre describes its show as a kind of theatrical archaeology. uSing age-old forms and traditions of structured lamentation to create an original piece of work. Taking inspiration from traditional Albanian music. the piece consists of strikingly choreographed scenes. which sound chOrally magical and are visually stunning. But it's performed almost entirely in Polish. and althOLigh emotion transcends language barriers. it's hard for the
audierce to gain a deeper understandng 2‘ the Characters Or the plot in .vhich they are .vorking. reSulting in a slightly distant. alienated feeling at times. In all. ho .‘Jever. a Vibrant and highly-charged production. inspired by an unuSual
musical theatrical form. (Gareth Daviesi
I Aurora Nova at St Stephens. .558 3853. until 29 Aug (not 76. 77. 23. 24), 3.30pm,
{8—K 70.
CLAY Super dextrous hip hop musical .00.
Rap. being the bridge between spoken word and song. is the perfect lyrical form for the mUSical. American rapper Matt Sax prowdes the proof With his energetic and dextrous one-man show that includes a law- dropping ‘show stopper' during which he flips between four different characters. a yOLing wannabe rapper named Clifford. his abusive father. his seductive step mother and a veteran vocalist who becomes the boy's mentor. Pitched somewhere between musical and gig. Sax also strays into stand-up territOry. and via some smooth hip hop moves. almost becomes a piece of physical theatre. Terrific. (Miles Fielder)
I Cowgate Central, 225 9744, until 30 (not 76). 8.30pm, E7—E8 (£5).
CURRY TALES Momma always said life is like a bowl of curry 0..
Rani Moorthy explores the cultural, philosophical and political possibilities of Curry in this one-woman show. With audience partiCipation like no other show on the Fringe. Here. you get to consume what she creates over the course of her performance. Each of the monologues is different in tone and content. usmg the different recipes and the very act of cooking as metaphors for life. Moonhy's charismatic performance is let down by inconsistency in her material. and she doesn't quite attain the
HOW TO ACT AROUND COPS Moral anarchy and the law moo
d'
Given the right, or wrong, scenario how far would you go to protect, promote or just alibi yourself? The Neitschean universe of Logan Brown and Matthew Benjamin’s play suggests that there are no boundaries. In it, a couple of young men (Benjamin and Andrew Breving) are stopped by a policeman (Chris Kipiniak) while in possession of a handbag, gun and a lot of cocaine. This encounter leads, by oblique degrees, to a spot of extreme coitus interruptus between a young couple (Daniel Breaker and Flora Diaz) in a hotel room. And it all leads to a mighty entertaining bit of play with sex, violence and other contact sports all bundled into a witty little mix. This pacy little noire thriller with existential leanings creates a world stripped of its ethical and moral dimensions. These characters’ quest for redemption is one that they can relate to no exterior reality, so behaviour is liable to go from bad to worse, regardless of good intentions. Jon Schumacher’s production is a crystalline metaphor for contemporary culture, and one with as unorthodox and atmospheric use of lighting as you're likely to see this year. Cracking one liners are uttered by an all round strong cast, with Breaker’s hash dealing boyfriend and Kipiniak‘s radge rozzer especially smart and subtle. A fringe highlight for sure. (Steve Cramer)
I Pleasance Courtyard. 5:36 6:350. until (£0 Aug (not 70. 2-1.. 7.”.5Wp'i‘. it". no 5
confident relationship With the audience that the close proximity demands. but the show has all the right ingredients for success. and Will Surer improve With time.
(Gareth DavieSi
I Traverse 4 s The Pal 228 7404, until 28 Aug (not 76. 23/. 7pm. $63—$77 (£4.50.
THE BALLAD OF JOHNNY 5 STAR A shot of the strong
stuff OOOO
Men can be complicated beasts. In a play by DaVId Hauptschein and David Vlcek. Chicago based company Secret Life Theater explores the complexities of the male
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psyche in a style
re'iiiniscent of the sharp.
fast moving pace of David Mamet. oiil, ‘.-.'i’.h some pretty well ‘.‘.’llllf:ll female characters toe. Limo driver Kip (Frank Nalli hires a private detective to track his Wife. who he believes is hawng an affair .vith layabout and S'I‘iill-ll'llf: rock star Johnn, :3 Star (\i‘leslei, Walkeri. As the mystery unfolds. Kip's pride. Jealous; and friendships all take a bashing. This is a tight show. .‘.’llll 'neaSured and captivating performances fron‘ all. Straight talking and darkl, comic. it's a pla, in WHICH yoo becoa‘e so involved .vith the
characters situations you (il'ilos’. for/let .'./liere ,oii are. Ari/l It's nothing to (lo .‘.'ith the (,o't‘rlliii‘eiitai‘, shot of' terttula. hei‘esf.
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I Hr” Str'ee.‘ li"ea.'re. 2.36 05223. arifl 27/ AM} (no? l/i’. 70. low“,
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BILL HICKS: SLIGHT RETURN Comedy icon rises from the grave 000
Chas Earlys Stars in Their Exes rout ne ai.va,s on a l‘i’llltg to nothing. Do you sv'jply UiOtlgl‘. tllr’w.if§." if“; sum of Bit H.045; .erba‘. m? \.".’t:at .vo..lo‘ be the port? Or do you go don'r‘ the path Earl, has followed and s
risk the wrath of hi.
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‘:Jf:ll‘.‘) filial} (is (joliiiiiluie. (ieorrle Bush Jr and ‘i ll? (gellsirleriiir; tliat f arly". material ’,’)lllfl iie/ei 'iiate'i: the real thing ,‘ffllll}1./f:ll/'."/’;llflf:f .‘xhat the point of llll‘)
FIifl,’ III/(1‘) f)‘:l lllf: seething. siiiokirirg, seam/Ming geriiiis' ll‘é:.’lll‘;.’|.‘,llif) down to a fine art. suggesting an ODS‘EXM‘J‘: 'létlllf‘: Eiklfl to 'iis ‘)l.lbj‘:f,l",. Pointless but fLiri. Brian Donaldsoni
I Pleasanrj; Courtyard, 5'76 Cir/70. until 30 Aug ’/not 78/. 2.45pm,
5.8. CO—l.9. ’30 ('2'. 7—293).
for GLASGOW THEATRE see non-festival magazine
{~‘z A . : PIX/- THE LIST FESTIVAL MAGAZINE 73