list.co.uk/festival Reviews | FESTIVAL THEATRE
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CHALK FARM Insightful examination of London riots ●●●●● When the London riots exploded in the summer of 2011, 24-hour news images of smashed-up cars, torched buildings and hoodie-clad ‘youths’ were propelled onto our television screens. The blame game began. David Cameron referred to the ‘pure and simple criminality’ of events, while others revelled in demonising and pigeon-holing.
HOW TO OCCUPY AN OIL RIG A useful guide for popular protest against planet-harming fuels ●●●●● In these troubled times, with so much to protest against, we could all do with some tips. Enter Daniel Bye with a news-you-can-use show full of interesting advice on bust cards and anti-tear gas remedies for those of us who would like the Arctic to stay frozen for the foreseeable future.
Only later, when the dust (literally) settled, did Two members of the audience, teacher Matthew
commentators start to attempt to put some context into the narrative. Chalk Farm is acclaimed playwrights Kieran Hurley and AJ Taudevin’s own response to events, seen through the eyes of a mother and son, and the fallout when the latter gets involved in the looting of the local Sainsbury’s. This is sharp, intelligent storytelling, and the central relationship is nicely captured, as the world they know begins to implode around them. Slick production values and the use of multiple grainy TV images as a backdrop reflect that however hard the pair work to move ‘up’ in society, some families will forever find themselves on the periphery, screaming to be heard. Where the play falters is in its slightly narrow, at times sentimental, view. (Anna Millar) ■ Underbelly, Cowgate, 0844 545 8252, until 25 Aug (not 19), 6.30pm, £10.50–£11.50 (£9.50– £10.50).
and arts administrator Caroline, are chosen as the protagonists and played by each member of the cast in turn. (Bye in an Orville-coloured bob, repelling Matthew’s advances, is a particular treat). We follow them through their journey from cleaning oil-soaked birds to occupying an … well, the title means there’s no need for a spoiler alert. As well as appearing on stage in various guises
(and wigs), Bye devised the piece with the other two members of the cast and directs with Dick Bonham. And although this works up to a point, his desire to shoehorn so many pertinent points into 75 minutes pushes the show’s structure to breaking point. It’s still a great idea. In fact there are enough great ideas in here for about three shows. I’d go and see all of them. (Anna Burnside) ■ Northern Stage at St Stephen’s, 558 3047, until 24 Aug (not 19), 12.35pm, £14 (£11).
IF THESE SPASMS COULD SPEAK A humorous insight into disability ●●●●●
It would be easy to patronise Robert Softley for his one-man show. Calling him brave and insightful might be well-intentioned, but would actually reduce this rather sweet and beautiful play to the language of political correctness. Spasms works not because of some liberal guilt seeping into the audience or because we just want to like handi-capable people for trying their best. It works because Softley is a fine performer, full of humour, intelligence and great stage presence − spasms be damned. Spasms is mostly a testimonial about Softley’s
life, in which he speaks candidly about his condition. And his stories are more hit than miss: his reflections on growing up and sex are interesting, his discussion about constantly being subjected to doctors’ Q&A sessions frustrating, and his thoughts on fatherhood cheekily honest.
The show is part of this year’s Made in Scotland programme, and it’s easy to see why it was chosen. Softley makes for an interesting and funny hour-long host, and everything he has to say is worth listening to and considering. (Michael Cox) ■ Pleasance Courtyard, 556 6550, until Aug 26, 5.45pm, £7–£9 (£6–£8).
WE WILL BE FREE Charming resurrection of folk theatre tradition, with political insight to boot ●●●●●
Mummers plays – informal folk performances with hundreds of years of British history – are seeing something of a renaissance in smaller British theatres, with Townsend Productions leading the charge. The chandeliers of the Assembly Rooms Ballroom jar with the format’s traditional rough-and-ready spirit, but performers Neil Gore and Elizabeth Eves work hard to make this homespun play feel natural and immediate.
The imaginative historical two-hander begins with a familiar retelling of the legend of George and the dragon, but things quickly turn political with the unfolding narrative of the Tolpuddle Martyrs and the birth of trade unionism in the south- west of England in the 1830s. It’s a difficult theme, not least because much of the corruption that led to the conviction of George Loveless and his collaborators was wreathed in incomprehensible 19th century legalese. But framing the story as a mummers play (with the addition of satirical cartoon projections) turns out to be rather inspired, bringing verse, music, humour and a sweeping sense of history to Loveless’ story.
Gore and Eves’ soaring voices work together beautifully in traditional tunes and original compositions (some songs contributed by folk musician John Kirkpatrick), either unaccompanied or with each picking up one of a range of on-stage instruments including fiddle and squeezebox.
Eves in particular is a revelation, turning her hand to the resolute working class wife, traitorous local layabout, nasty thigh-slapping magistrate and mournful fiddler. Despite a slightly abrupt finale, this charming play is a delight, and proves there’s still plenty of magic in Britain’s folk theatre heritage. (Charlotte Runcie) ■ Assembly Rooms, 220 4348, until 25 Aug (not 12), 12.30pm, £15 (£5–£12).
15–22 Aug 2013 THE LIST FESTIVAL 73
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