Theatre
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UP THE GARY
Glitter without the stardust
‘( )rrr r.lr;rrar:ter, .‘Sarr. Barker, max “A
year. elrl rn l'h'l’ when "New. n Hell l’arl j” trial appeared err lep er the l’r)/)i..' may". ’irreeter .Jewnea Heek el thr. eheekrly Tr‘. erl she‘s; alrerrl the use and tall el a (3:1", (3' fler rrnpernenaler. ‘( ilrtter llttlflllliff; hr; rerkn'rell here.
rearlrnr; hrrn tr~ a rrerterrnarree en Sta/f;
r/r l/rer/ I w heulerl l», Matthew Kell‘,
lwhe waf; artetrmerl anrl elearerl ef
rzhrlrl ahrr:;el, alter u‘xhrer‘. hrs; eareer as
a (tan, (Elrtler trrhrrte artrst taken all ..
rrrrtrl the lrrsl liraerleprtrleu allerjalrens; rn lllllr'.
'lhe rrlea rarrre ahelrl when '.‘.re Were
at the letll vai With lerrerr::l.’ [he r'tlrr:;rr:.’r/ last Lear." lie<1krgay51 ‘Brrl etrr lrrt;l f»(rll(itlf; rrreetrnrj w; sn't rrntrl
Nr )vernher. (?()lll(‘|rl(?llll\,’ en the (lay ("rlrller \'/;1:;;irre:;terl rn Vretnarn. It's; net a ]ll(l{](?'llt3lll en (ilrtter llherrrjh rnayhe that}; ler the arrtlrenre le (leerrier; rt'5; the :;ler\' el Barn Barker lrern l rrten. We're leekrnrj at the eerrserrrreneer; el rjrrrlt l)\" assemalrenf erlet; i relrlerr
I l/rrr/erhe/h; (til/(l (315) (806313. (>3 8/ Aug; rrrel lfn, 8pm, i 19.5%) l‘Fl.:’S() (filial) man, Prev/em; (a‘ A: .1 Aug. ‘1‘».
CLEAN ALTERNATIVES
Environmental comedy
Hrran l)\'kslra whe yeti lllltllll rernernher as a ene trrne rnernher er' .lehn (ilant‘y's Arnerrt‘ana Ahsrrnllrrn t‘rew has arrlhererl. rn Chain A/lerrr.'rlr\.e::. a (ferrre<l\ whrrth rnrtjht well he rn a :;rrnrlar sprr‘rl to the llarkh hrlarreut; anti :;a\.'ag)el\ helrtrr‘al werk \xhrt‘h rnarle l rat l‘ernpam a lrrnge legend.
the srrhjetit el these pesk\ emrrenrnenlai hum-.nre pernts that haw se rrnpetleri rr‘rrrlfrnalrenal t‘erperatrens rr‘. their pelltrlren el the planet rs one that has relex'anr‘e the world mer. hut rn the USA. where lhrs pret‘e rs set. there seems a particular trnrelrness. Dusters salrre sees a rnas‘sm e \‘e'peratrer‘. alternrllmgt le err. an the enxr'en'nentai .‘retlts of a woman‘s small htrsll'less In e'tler tt‘ continue to pelate at the same lexei. \\’hen she. nut at prrnt‘rpai. refuses, to play lhrngs get par'treularh ugh. A blacker than black comedy. this ,nrece leeks an entertarnrng morsel of food for thought. rSteye Cramerr
62 THE LIST FESTIVAL MAGAZINE ‘ ‘
BODIES IN TRANSIT
Sex trade exposed
There"; heen ne nhnrlarje et
eerwernerl anrl lr'tLerar rlemrrnerltaW-m wuer the last fez'.’ .earf; almzrt The (ll()‘.'.’lll(l lrarle 'n ,rerrnr; puernen l'ern lauterrr l lll()j)f‘ \.'.'he are exnlerterl .n
the \r'l/est af; rrrentrtrrlen. Yet we term tr,
reseenrl tn the representatrerr ef f‘rllril‘ explerlatren rn a knee jerk rnanner. '.'.rherel‘»\, the prrhlref; sense ef vneral enprehr'rrrrn lenrl‘; tr; (listanrw penetr- lr‘ern the aelrral (lelarl et the prehlern.
Nina l (H ssa Bamelt'f‘. play for l)anr:;h eernharr; erttrta [)t‘.rna If; rntenrierl le llllll(] a greater ()l)](?’£il‘.'il‘,' le the srtrralren. Sele nerlerrner then llenrlel Phrirpsen exrrfarn‘; el her <:harar:ter_ a \,()tlll(] l rthrranran ‘.'.rerrtart whe hat; heen rlelarnerl hy the pelree, 'l ler l‘(}£lf;()llf; t'er t)<)|llt} rnte this
srtuatren are eernelex. It's net a srrnele
rnatler' et explertatren. fhentjh thal'f: part el rt. What we \.'.’anterl In (in was; explere these assures; \.'.rrlhenl all the ernelrenalrsrn. alllierrrjlr rt':; a xerj; newerltrl preee. Peeple's; respense‘: u'xer'e really Intense when per‘ternrerl rt rn Denmark. anrl rrrter‘es;trng|\.«'. rnen respenrlen te rt differently than wernen,‘ Fer'rnrrrale ‘,"()ti." ewn respense. rSlem Crarnerr I lr‘zmi-rse, .';C’..’r’*n‘ Mir-J. fix/"furl; r/7(.‘:'
/-o’, .g‘lr, trrnes; van; E‘l.’l._’»(l ill-1.5307 51‘)...
EL CONQUISTADOR Latin Chaplin
lneir leading) rrtan‘s heen :ternearee tr, Charlre Chanrrrt and the shew. 's alrean. tanned rrrt prarse at the Duhlrn Frrnee
MIDNIGHT COWBOY Sordid tales of the 605
‘And it all happened right around here . . .‘ John Clancy takes a drag of his cigarette and looks around him. We‘re sitting in a concreted public square at 50th Street and Broadway. On one side of us, taking up a massive chunk of a skyscraper there are two mighty billboard posters of news anchors; one a steely faced bearded man with a list of his pet hates inscribed under his face, the other a woman wearing a mask of infinite solicitude. They stare down Broadway towards Times Square adding an element of implacable moral judgment to all they survey. Perhaps the judgment of society is as unrelaxed as it was in the 605 when Dan Leo Herlihy’s book and John Schlesinger's film were documents to the repressions and neuroses which distorted folk of the time.
For Midnight Cowboy, here premiered as a theatre piece, adapted by Tim Fountain and directed by Clancy, tells us a story of the strictures of a morality professing a state of grace through gender, class and sexual oppression. Joe Buck’s journey to the big city, his meeting with Rizzo the conman and eventual descent into a sexual commodity for punters of either gender is here told through drawing on both book and film. The homophobia that taught men to hate themselves which so prevailed in the era makes for a cautionary tale from history which might intrigue in itself, but Clancy maintains there is also a subtext about loneliness and the modern urban world that resonates with a contemporary audience. He cites an incident that illustrates it all. ‘Joe has a few sporadic sexual encounters, but no friendship. There’s a moment late in the book - it's not in the movie - where Joe is sitting at a table with this guy who’s a professional abuser - straight guys hire him to abuse him, just to beat him up and be horrible to him. It's the first really violent homosexual episode in the book. The thing is, Joe’s really pleased to be with him, because he sees so little of people being friendly to him. This guy is 28 years old; it’s so heartbreaking how lonely these characters are.’ Prepare to be moved again. (Steve Cramer) lfzgpw-‘z, _. I: ,/ ~ g .«12’». I —2’~ ~33: :’ £0620