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MY PYRAMIDS! OR: HOW I GOT FIRED FROM THE DAIRY QUEEN AND ENDED UP IN ABU GHRAIB BY PFC LYNNDIE ENGLAND
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SCREWMACHINE/EYECANDY Game show grotesque 0000
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something which is so total that our organic selves are concealed lit-:2 Mg; 1'21: sta'ts .ip rite ri‘.(;.".‘:t:-"f (2"esei‘! tnis pare. spartan and SE'T‘DiC beneath a mound of consumer goods by an entire world view that has 1%:- t"::-a'.'t,- 120:7“ e h‘-o:‘o pose. in \‘.'V‘.l(:.n \i.’a". .ta Storms replaced the natural with something totally alien to human nature? A "(:r" in; ;,:.3t1,~;:‘. ti‘a'. ‘1‘», :;"::'.'. ne pays the notonoes young woman. We game show, of course. "1:1" '3; "‘;:'. rt'a ex; (hue. see I." nor an ()l)l_)'eSSl()ll in her past. CJ Hopkins’ superb rendering of the monstrous alienation created by Harm: “(30.1%: him-L? '."‘~:‘: ~ Lititfl‘ a":: a aesnerate need for appiotar contemporary consumer society sees Big Bob (David Calvitto) :..."°-.;' 1‘5; ,;‘ f:::"‘-::-s'..;: anase an: twist frond her share peers. at: sourcing nte shepherding a lower middle-class American couple Dan (Bill Colieus) and 1:; "6mm: ::<>‘<:'e:- as. 710' appa mtg t)(3-"£1\’l0;l". Some o‘ the Maura (Nancy Walsh) on a bizzare retro 505 American set, through a :a"'-::~" stage. Mam. "e' f‘\':'."~»:3' torzaves deserzhe l at the ()"lSOl‘ are succession of meaningless and increasingly sinister questions and ;:":: "e' ‘;:'."-::' wee a ‘. iii,” . .o: {no weak stomachen. but activities. Meanwhile, the terrifying figure of Vera (Mike McShane) a (i';>.."i "e fiber are Yt‘t} sexually \. o;er‘t acts gigantic and grotesque transvestite, awaits, punishing those who sz: mow 'e teratea m the ()IOCO from Go: {HE
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transgress the unstated, oft-changing rules of the game. oxen "(a aaa '."t: "a" (T:‘:"."“.(}"I stes about E'tgl’dl‘il. These. This all gets increasingly gruesome, in John Clancy’s assured : . we; w v‘ I :e ' f)" .'/’" fe. om:- again S§t)t.‘."()(? the ghastliness production, as the two contestants are at first showered with contempt arrow; . ass; heat l" 1; hack to the US. This 's a powerful by Bob, whose achievement ethic is his only sustaining myth, then s". t, " ' ~ (lur‘ifl'liéi-“IIU. and one willC!‘ asks beaten by Vera. The idea that those who the gods choose to destroy, ‘." " te ( :e ' am: i. , i) “.t: 3‘El.’{l(?f naesttoi‘s I'tEIY‘. simple they first make mad pulses through the piece, as reality itself is a ‘l? 2' . °.(.' r an: a:' r (XXX)? 1 or to the war might eeao as to surrogated by the media spectacle of the game show. The early tittering :;..:;;t:- " z ' exz, : .‘a Stew;- Cl;t.".i(}"l of the audience is transformed into a grim silence, for there is 3 Ar: .. t as l' e 2' et’:- I lat/erse I'vearre. 2:98 7.101. “err: 28 recognisable truth at the bottom of this agit prop drama, and it’s about t: .i ;: . t "e A4; "or 1:3] 82,. frames van: 1‘75) 53:) truth, which is generated not by rational observation, but hysterical 'a. tr my a it out i t: H as l 1.1520,; ideology in our society. ;t..;i<:~.<:e l'~ E;.i:§;)t?' :-: I: n t' The cast perform strongly: Dave Calvitto’s swaggering, :2 .(at: .2 (it ,. x, , i an Mephistophelean Bob is smooth, suave and horribly close to the reality in at ;§‘ Ar 3' w :' .m; u as we’d recognise on the tube on any night. Meanwhile, Nancy Walsh la’ «:t a, (a : .t .'f (3.1‘4" Book Festival 0131 624 5050 observes her wifey with real astuteness. The direct confrontation with w‘ 1 Ir """~< 3' Fringe 0131 226 0000 both philosophical and really quite everyday realities of Hopkins’ text is - i: ' r . m Intemafiona| Festjvd 0131 473 2000 strong meat, and might not be to all tastes, but this is high quality, and 't: Film Festival 0131 623 8030 genuinely thought provoking entertainment. (Steve Cramer) (Hr/t: .! at a a. nu- Jazz Festival 0131 473 2000 IA 3,, ‘5 . .' {Cir/«at; ":).' .- W .- t .l .-.' t l 1: :t‘:
THE LIST FESTIVAL MAGAZINE 77