F E S T I VA L T H E AT R E | Reviews
P H O T O :
G G I
I
I G A N N E L L A
YUKON HO! (TALL TALES FROM THE GREAT WHITE NORTH) Childhood hardships in a freezing land ●●●●●
Taking on elements of cabaret alongside a linguistic guide to the dialect of the area most famous for the gold rush, as well as the inevitable presence of death and danger, Jennifer Irons presents a charming solo show that disguises heavy themes beneath an informal, chatty structure.
The Yukon – which was settled by colonial whites following the lure of the abundant gold in the ground – remains a tough place. Growing up, Irons realised that both the environment and the culture were deadly. Her reflections on her childhood are rarely sentimental. Her bursts of dancing to deal with the deaths of her friends, her description of popular cocktail ‘the sour-toe’, the translation of her father’s anecdotes, and the reiteration of the Yukon’s ‘do-or-die’ philosophy all provide a snapshot of an area still indebted to its Wild West origins.
Throughout the show, Irons threatens to perform a can-can: her earliest dancing engagement had been at the casino, high-kicking for ‘enthusiastic’ audiences. As she gradually prepares herself for this grand finale, she reflects on how the dancing-girls were an important factor in the ‘civilising’ of the Yukon, highlighting their resilience, determination and the feminist subtext of the dance. This idiosyncratic reading of history, reclaiming a space for
women in a culture that exhibits plenty of toxic masculinity, reflects a broader intention. Having left the Yukon, Irons wants to reclaim her heritage. Through witty anecdotes, very dark humour and an ambivalent attitude to the antics of her family and friends, she attempts to reconcile her artistic practice with their roots in a land that breeds hardy and fatalistic individualists. Irons’ charisma is balanced by this iron in the soul, and her playful wit covers a serious, intense heart. (Gareth K Vile) n Summerhall, until 25 Aug (not 12, 19), 5.30pm, £10 (£8).
P H O T O :
P H O T O :
N T S M E D A P C S I
I
T O D D R C H T E R
I
WIRELESS OPERATOR One-man show inspired by WWII pilot ●●●●●
A GAME OF DEATH AND CHANCE Theatrical vignettes engaging with Scotland’s problematic past ●●●●● UMBRELLA MAN Life on the road with humour ●●●●●
Written by Bob Baldwin and Max Kinnings, drawing from Baldwin’s father’s experience in WWII, Wireless Operator is an intimate look into the experience of a Bomber Command squad on a mission to kill. John (Thomas Dennis) enters into this disturbingly violent experience, and the play explores notions of conscience and guilt when you are allegedly on the side of the good guys.
Dennis carries the performance, displaying talented physicality when things get risky and emotional depth when recalling memories of home. Audio clips from other actors constitute the rest of the Bomber Command, and Dennis convincingly evokes true relationships with these bodiless characters. The show’s slick sound design ensures that despite the minimalistic set, the sense of being in a plummeting plane is both convincing and compelling. While the sound design and nifty set are initially
impressive the first time that the squadron approaches danger, by the third time it begins to lose effect. Nonetheless as we approach 75 years since the end of the war, this is an important show that gives voice to vital stories from history. (Rachel Baker) n Pleasance Courtyard, until 26 Aug (not 12), 12.40pm, £9–£11.50 (£8–£10.50).
90 THE LIST FESTIVAL 7–14 Aug 2019
Gladstone’s Land is one of Edinburgh’s oldest buildings, and proves an excellent source of inspiration for director Ben Harrison, who has constructed a series of vignettes depicting Scottish history from the bubonic plague of 1645 through to the Act of Union. Doug comes from the Black Isle in northern Scotland, but has spent the last year or so showing tourists around Angkor Wat, with disarming charm and desert-dry humour. How he ended up in Cambodia, though, is a long and convoluted story of lost love, bizarre conspiracy theories and a terrifying poker scam. And he’d like to tell you all about it.
The cast work up an excellent rapport with If you can brave a 10am start, Edinburgh-based
the audience, giving a face to major events and avoiding a generic run through Scottish historical highlights. Unfortunately, as the actors hit their stride, the audience is directed to another room and another era. Nevertheless, the atmospheric setting complements the various tales of disaster and dashed hopes of Scotland becoming an economic (read: colonial) superpower, before begrudgingly entering into union with England.
These vignettes reveal that nothing lasts forever and that hope follows catastrophe, so perhaps we have something to look forward to in spite of the current cultural and political mayhem. Yet the final caricature of Caledonia as a self-pitying old woman, whining about her lost glory, suggests a backwards glance at a historical stereotype. (Liam Rees) n Gladstone’s Land, until 25 Aug (not 12, 19), times vary, £15 (£12).
poet Colin Bramwell’s tender solo show makes for a beautifully thoughtful – and often very funny – start to the day. Using anecdotes from an unassuming life, poems railing against the establishment and a dose of fine piano playing too, Bramwell paints a picture of a life adrift, of a futile search for the edge of the flat Earth, and of how to charm customers in Portobello’s Subway. There’s plenty of whimsy in Bramwell’s sometimes elusive creation, but as its threads draw together at its understated conclusion, it packs a surprisingly potent emotional punch.
Bramwell is a naturally witty performer, charming with anecdotes while teasing with studied understatement. But it’s the richly resonant layers in this bittersweet show that linger longest in the memory. (David Kettle) n Summerhall, until 25 Aug (not 7, 12, 20), 10am, £10–£12 (£8–£10).