FESTIVAL THEATRE | Reviews
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THIRD WHEEL A dying man’s request builds a bridge between two bickering friends ●●●●●
The title of Deadpan Theatre’s Third Wheel does nail one aspect of its story — a road trip for two girls following a route chosen by the third, deceased party — but doesn’t capture the freewheeling tone or the sense of fun involved in this one-hour play. Writers and performers Jude Mack and Eliot Salt play Eve and Polly, two girls who have developed a friendship but now suffer from a broken romantic bond.
Attending the funeral of their friend Dylan (Harry Trevaldwyn),
they’re handed a memory stick with a video message from beyond the grave. In a bid to mend the fallout between the girls, Dylan sends Eve and Polly on a cross-country trip with Dylan’s ashes in a Wizard of Oz lunchbox, a journey which quickly sees long-standing disagreements come to the fore, but eventually heals some of the unrequited hurt that’s been festering between them. Third Wheel also happens to be a musical, with an on-stage band
called Party in the Sky and some funny cod-Broadway pastiche songs to accompany the action.
Sophie McQuillan and Finbar Fitzgerald play the various characters encountered by the girls on the journey with gusto, and while the play relies a little too much on montages at the expense of dramatic conflict, Mack and Salt’s strategy of packing in a plethora of incident eventually pays off in a bitter-sweet finale.
The language and situations tend towards the sexually explicit, and one scene involving a gynaecological examination could use some judicious editing. But the biggest strength of Deadpan Theatre’s production is Mack and Salt, a strong double-act playing mismatched characters, milking both the comedy and the pathos from the narrative with ease. It’s refreshing to see a show that aims for, and hits, a range of targets, comedic or otherwise, with such success. (Eddie Harrison) ■ Gilded Balloon Teviot, until 27 Aug, 2pm, £10–£12 (£9–£11).
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KRAPP’S LAST TAPE Beckett’s classic is a festival highlight ●●●●● INGO’S WAR Entertaining, evocative puppet drama ●●●●●
Samuel Beckett’s one-man play features protagonist Krapp (portrayed by Barry McGovern) at the age of 69, recording his annual birthday reel-to-reel tape and listening to a recording made 30 years before, which in turn references one made 12 years before that. As Krapp’s memories come back, so do regrets. Beckett’s plays have maintained their iconic status
thanks to his estate, which insists on an austere interpretation that respects the intentions of the author. Consequently, the quality of a production depends not on a director’s interpretation but the actor’s ability to claim Beckett’s script as his own.
Through his tapes and dusty ledger, Krapp relives his younger self’s birthday ritual (eating bananas) and recalls lost love. The uncomfortable clatter of the metallic tape boxes thrown to the floor could easily be the echo of Krapp’s stinging memories coming back to the surface.
McGovern’s memorable performance revels in lingering moments of silence and his emotional interpretation easily fills the stage, successfully bringing Beckett’s words to life. Funny and wistful, haunting and meditative, Krapp’s Last Tape is one of the highlights of this year’s festival. (Adeline Amar) ■ Church Hill Theatre, until 27 Aug (not 22), 8pm (also 3pm, 19 & 20, 24, 26 & 27), £25.
86 THE LIST FESTIVAL 17–28 Aug 2017
Bearing more than a few resemblances to a very successful play about a horse during wartime, Ingo’s War is nonetheless a very engaging family show blending puppetry with spoken word to tell the story of a nervous dog that loses its owner and winds up in France as WWII rages on.
Young theatre company Ditto bring the show to Edinburgh fresh from winning awards at Brighton Fringe Festival earlier this year.
Each of the six versatile actors / puppeteers bring a bright energy to the story, as they clearly narrate the action from a script that is explanatory but still manages to avoid getting too bogged down in specifics. A sparse set is creatively utilised, matched with minimal sound effects throughout, to keep the audience up to speed with the shifting narrative.
Ingo himself is a humble creation, but the ensemble bring the pup to life in a way that will capture children’s imagination, with each of them taking turns to move his wooden paws and sound his yelps. Although both the narrative and choice of storytelling may not be the most original, it is a simple tale with a timeless quality that will be an easy sell for a family audience. (Sean Greenhorn) ■ Pleasance Dome, until 20 Aug, 10.40am, £7.50–£9 (£6.50–£8).
(MORE) MOIRA MONOLOGUES Falkirk’s hardest woman is back with a vengeance ●●●●●
Alan Bissett’s no-nonsense scheme queen returns to the stage with sass and aplomb. Oh, and did she tell you, she’s a nan now? Clad in her uniform pink velour tracksuit, Moira chain-smokes her way through the play, relaying all the recent news and gossip to her best friend Babs. Loveable Moira doesn’t mince her words. A
champion of street justice, she doesn’t let politeness stop her from putting people in their place. When the train passenger opposite takes more than their fair share of legroom, the audience’s eager silence speaks volumes: sort him out. Very quickly it’s easy to see Moira as the voice of reason. Middle class theatre-goers have no choice but to face their own absurdities: why do they love avocados? Why do they pay yogis to teach them how to breathe? How should we really feel about the Kelpies?
Bissett’s one man / woman show is addictive. Switching between characters and accents at an astonishing pace, he immerses the audience in Moira’s world. Great hilarity, simple truths and some profound moments too: it’s no wonder Moira has such a loyal following. (Clare McVay) ■ Scottish Storytelling Centre, until 28 Aug (not 21), 7pm, £15 (£12).