OPTIONS OF LIFE Language an insurmountable barrier to these Polish parables .. 7 especially as the ’2‘8T..ft‘;>‘:-'J sari“; V Creates a vague ""ist around We performer
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This urtuSual piece from Polish company, lrnpossible Theatre Union, conSists of five parables from the Old Testament. interpreted by the famOus Polish philosopher, Professor LeS7ek Kolakowski. best known for his analySis of MarXist thought. In it the two actors alternate speeches. performing these highly moral pieces usmg various props and sculptures. Including bricks. sand and clay
DAMASCUS East beats West 0000
Routines based on the business of translation are a pretty well precedented source of humour in the theatre. What gives a rare quality to David Greig’s new play, which amounts to an entire two-and -a-half hours of this schtick, is the subtlety and dexterity with which the joke is applied, shifting misconstructions of words to concepts and on to human identity itself. Finally, the gag becomes a very serious matter indeed, questioning with profound urgency a long history of colonial intervention in the Middle East
In it, a Scottish TEFL teacher, Paul (Paul Higgins), hoping to shift the latest version of his English language primer, travels to the eponymous city full of trepidation about what our media gliny defines as a world trouble spot. It is, of course, no such thing, as his encounter with his contact Muna (Nathalie Armin) demonstrates. She’s being pursued by her lecherous old professor and former flame Wasim (Alex Elliot), who these days is a mover and shaker in government circles. As romance begins to spark between Paul and Muna, hotel clerk Zakaria (Khalid Laith) befriends the former, but finds his patronage carries the double edged sword of any relationship between coloniser and colonised. Meanwhile, the shifty transsexual Ukranian Marxist hotel piano player (Dolya Gavanski) represents an oblique Brechtian chorus on this comedy of British manners abroad.
Philip Howard’s production observes Greig’s dense, perspicacious commentary on multinationalism, which here amounts to the simple imposition of Western values on folk who have no need of them, with crispness and clarity. From Jon Beales' parodic elevator music score, to Anthony Macilwaine’s ingeniously bland hotel foyer set, it all moulds perfectly together. Greig’s realisation of, ultimately, a tragedy of colonialism built by a long history of ignorance is persuasive, and more powerful for the hilarity that has preceded it. Funniest among these scenes is one in which a text book is amended to Syrian sensibilities, ultimately demonstrating as much illiberal intolerance in this culture as we might associate with that of ‘undemocratic' Syria. There are some grand performances too. In a generally strong cast Higgins is a standout as the baffled Scot abroad, while Khalid Laith's clerk robbed of identity in his own country and denied it by the West carries off a tragic-comic coup. Put this one on top of your Fringe ‘to do' list. (Steve Cramer)
I Traverse. 228 7404. until 26 Aug (not 73. 20). times vary. E 76—E 77 (85;.
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INSIDE PRIVATE LIVES Debunking celebrity myths 0000
The chance to ask our fav0urite celebrities questions ab0ut their personal lives is one that few of us would turn down. All too often figiirw: in the public eye are shrouded in mystery. and it's DTGCISCI‘, the rte bunking of these myths that predu :e' and creator Kristin Stone user; as the baSIS for her interactive show Characters ranging from McCarthy Witch hunt name-dropper Elia Ka/an (Adam LeBow) to America's first male/female transsexual Christine Jorgensen (Kristin Stone. inhabit the claustrophobic stage telling a little of their stOry and encouraging the audience to partiCipate as contemporaries.
Executed slickly. the characterisations are impeccable but it's the audience partiCipation that proves the show's greatest success At times almost like character based stand—up routine. Stone's production Only falls down during the less well- known celebrity turns. but even these are kept niOVing along by the energy of the performers With Eileen O'Connell, as 50s Tupperware exeCutive Brownie Wise. giVing an unmissable bOuffant etiquette lesson. With different characters appearing at each performance this might be one to return to — it's certainly not one to miss. (Dayld Laing)
I Pleasance Dome, 556 6550. until 27 Aug foot 74. 27). 3.45pm. E6.50—£7.50 (ES—£6).
HUGH HUGHES IN . . . STORY OF A RABBIT
A Brechtian take on rabbits, death and dads 000
Self described ‘emerging artist from Wales'. the endearing Hugh Hughes eagerly addresses the age old question of death: what it is. what happens. and how differently we all react to the ineVitable. He intermingles the stop,» of a rabbit's death with that of his father. leading to equally poignant and funny moments. He encourages us to remember different points from Our own lives and ponder s0rne philosophical QuestiOns. such as what it would be like if we were made
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THE ART OF SWIMMING Floating ideas .00
This neat little combination of narrative and rnetanarrative from writer and
performer Linrla Railie, as 'YlllCh about the performers ()li‘l‘:t rinses ‘lOll With her subject as it is about the forgotten celebnt, t/terrmrte‘; Gleitze, a woman who sun/an: tie t'tl’lll’it‘ Channel in 1927. then ‘r, (pf/(J) this, feat with a Stlfi’lft‘SSV/Tl of either endurance f)‘.‘.'ll'il'Tllth ELBHIS between the Mind .‘xars
In it Hadley, an engaging performer, aCCOmpanierl by the accorrlian TITFJSIC of Michael John l~AcCart“,. sweeps us intc Gleitze's ear"; life Sm,- takes us through England and Germany, on to BlacprOi. Brighton and .rarious other locations. detailing through se sual imagery and a handful of found lterl'“; a life that fascinates her. Iinaily. the piece becomes as must“ about r 1 capacity to imes' histories the we can identif, with as it is aboit the tart; herself On the downside. men at an hour. the piece is a littie for, 'org. and its final purpose is unclear. For all That. there's a certain cosiness to the piece which might .‘.'€ll stay with you i’Steve Crameri I Traverse. 228 7 times vary. 2’. ‘d (ES—2’. ’Cx.
9-‘6 Aug 20C" THE LIST FESTIVAL MAGAZINE 79