list.co.uk/festival Reviews | FESTIVAL THEATRE
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PHIL NICHOL: THE WEARY LAND Comedic reflections on a man’s life and past mistakes ●●●●● BADDIES Self-referential Hollywood satire ●●●●●
CADRE An evocation of South Africa’s past struggle ●●●●●
Phil Nichol is one of the Fringe’s stalwarts. He has appeared in a number of productions and stand-up shows over the years, and he’s easily one of the most recognisable faces in the capital during the August festivals. Anyone who doesn’t know why should see The Weary Land. For those who have seen Nichol before, though, this latest production will perhaps be a little disappointing.
He sits at a table and, for roughly an hour, tells the audience stories from his life, many of which are loosely tied to the themes of identity and relationships. This production isn’t as innovative or original as his previous shows, and some of the material has been covered already in them, but it is still very polished, witty and insightful. It’s also extremely funny. The production still has a few rough edges, and
the framing device – Nichol’s reflections on life after being caught in a rocket attack while in Afghanistan – doesn’t work because he hardly explores it. Nevertheless, The Weary Land is worth catching, if for nothing more than to hear a master monologist at work. (Michael Cox) ■ Assembly Rooms, 0844 693 3008, until Aug 25, 2.30pm, £10 (£9).
Sergio is a method actor, successful in mainstream filmmaking but dissatisfied with his typecasting as one-dimensional villains. Self-centred himbo Joe, a former classmate of Sergio’s, has disregarded his classical training in favour of becoming an A-lister, embracing Hollywood conventions in a way Sergio finds distasteful. When the two are reunited for a new project, Sergio attempts to take charge, hoping to steer the film away from becoming yet another shallow depiction of goodies versus baddies.
There’s a lot to like about Baddies: the script is, for the most part, coherent and believable; the two leads do a decent job of carrying the bulk of the drama; and the plot succeeds in raising interesting questions about narrative conventions, doubling back on itself with further queries until it’s clear that there are numerous shades of grey to be considered. The second act buckles under the weight of too many characters (the on-stage cast suddenly doubles around the midway point), and Sergio is (ironically) presented in far too favourable a light for someone so pretentious. Nevertheless, Baddies remains a solid piece of satirical comedy drama. (Niki Boyle) ■ the Space on the Mile, 510 2382, until 17 Aug, 6.05pm, £9 (£8).
Almost two decades on from the end of apartheid, and with the health of Nelson Mandela, the nonagenarian father of the nation, failing, South African theatre is playing an important role in remembering the evil that was perpetrated under white supremacist rule. Omphile Molusi’s play – which focuses on the life of its protagonist, Pan Africanist Congress activist (or cadre) Gregory Modise – takes us into the heart of the struggle in the 1960s and 70s. From the vicious repression carried out by the
segregative pass laws to the murder of Gregory’s older brother (a PAC activist) by a racist policeman, the drama provides powerful reminders of the nature of apartheid. The most affecting scene comes when Gregory (working undercover for the PAC as a police officer) is forced to sacrifice a comrade’s life in order to save his own − and, more importantly, the mission. The piece has its weaknesses (not least in the
slightly cringe-inducing playing of child characters by adult actors), but it succeeds in evoking a history that we cannot afford to forget. (Mark Brown) ■ Traverse Theatre, 228 1404, until 25 Aug (not 19), £18–20 (£13–£15).
RED BASTARD A masterclass in physical comedy ●●●●●
Red Bastard makes an explicit contract with his audience: he insists that the quality of the show depends not on his performance, but on their engagement. After an introduction that showcases his mime skills and sets the tone – aggressive audience interaction – Red Bastard sets about challenging the audience, poking at their indolence and charging them with fulfilling their desires.
His aggression is extreme, even bullying – there are plenty of walkouts, and Red Bastard throws a few people out himself when he feels they are being dishonest or threatening his control. There are attacks on lack of ambition, a critique of the Fringe, parodies of the student-pupil relationship, and a series of terrifying meditations on individual failure, all peppered with his unique mix of charm and cruelty. His techniques are precise, his aims as clear as his absolute control over his bulging body and curvaceous costume .
When Red Bastard mocks the usual conventions of theatre
(e.g. the idea of pretending to be someone else, imagining the audience isn’t there) he is making a claim for the honesty and integrity of his own show. In it, art becomes not a thing to be observed, but a confrontation with the uncomfortable. The show’s final moments explain his purpose. The ferocity
is a necessary part of his message: in advocating a life without fear, he cannot be less than fearless himself, and must embody the terror that prevents a life being lived to its full. Like a vicious preacher, Red Bastard is convinced of his message and willing to embody the difficult and frightful. He’s certainly not for the timid, and sees no complications in the virtue of acting on desire. But his power to inspire and enthuse is undeniable. (Gareth K Vile) ■ Assembly George Square, 623 3030, until 26 Aug (n ot 14), 4.40pm, £11–£13 (£10–£12).
15–22 Aug 2013 THE LIST FESTIVAL 75
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