THEATRE LIST
34 Hamilton Place Eadi‘ig'urgh
THEAT
THEATRE WORKSHOP &THE SLIDE WORKSHOP
P Eggeggz. 5.25
comauumr PERFORMANCE PROJECT Staning 9m hbruaw THE IMAGE MACHINE A Multi-Media Spectacular ADULT DRAMA involving volunteers from all sections of the community. PHOTOGRAPHY ThelMAGE MACHINEis aboutimage CREATIVE DANCE making and the vast unreality of illusion and delusmn ‘ “953’58’7 Fem” SCREEN PRINTING 8pm {150({1-25) . WRITERS WORKSHOP SpeCial Offer _ 2 m” pnce O Registerin Advance tickets tor the price of l on
Tuesday and Wednesday.
pl a F E I i T ROMANTIC NIGHTS AT THE 1 l 1 1 q - MUSSELBURGH
ROMEO AND JULIET Directed by Mervyn Willis 28 Jan - 7 Feb
A FINE ROMANCE A new Scottish play by Howard Purdie 11 - 21 Feb
TAMLAN E A play of enchantment and romance based on a traditional Borders legend. 25 Feb - 7 Mar
All performances begin at 7.45pm. Tickets: £3.50 (Concessions £2.00) LATE NIGHT SHOWS TOO . . . 10.30pm Tickets: 50p SOMETHING IN IT FOR CORDELIA 5. 6, 7 Feb
BOX OFFICE: 031-665 2240
The Queen’s Hall Clerk Street, Edinburgh
THEATRE COMPANY presents
mm MAJESTY’S mason:
A Music Hall entertainment to celebrate the 150th anniversary of ' Queen Victoria’s accession to the throne. l
Sunday 15th and Monday 16th February 1987 at 7.30pm. 1
Box Office, Bar and Snacks open 6.30pm .
Tickets — £2.50 (£1.50 concs) l
"'*“ SPECIAL OFFER SUNDAY NIGHT — ALL TICKETS £3 “* l Queen Victoria will grant a Free Knighthood to I
the best dressed person in suitable period costume. :
Advance Tickets—Usher Hall Box Office. Lothian Road, Edinburgh. ((131 2281155) I Monday— Saturday 10am—5pm it The City of Edinburgh District (buncil Department of Recreation Supporting the Arts
a translation from the French by Hector Macmillan of the same playwright‘s Le Malade Imaginaire. ln Moliere‘s register of self-obsessed comic characters. Monsieur Argan.
See Guestlist.
O THEATRE WORKSHOP 3-1 l lamilton Place. 226 5425. Box office MonnSat 9.3(lam—5.3()pm. Bar. Cafe. [ONE]. The Image Machine Tue 3—Sat 7 Feb. 8pm. £2.50 (£1 .25). Special offer: two for price ofone on Tue and Wed. Theatre Workshop‘s latest performance project
looks at the use of imagery
to manipulate the truth and involves a small orchestra and a complex three-dimensional set onto which images will be projected.
O TRAVERSE THEATRE l 12 West Bow.
226 2633. Box office Tue—Sat “lam—8pm: Sun ()—l()pm. Bar. Rest. Tickets also available from the Ticket Centre. 22 Market Street. Seats from £2. Sundays ALL SEATS £2 (non-members £2.50).
The Busker'l‘ue 27 Jan—Sun 8 Feb. 7.30pm. Temp members £4.50: [icon members £4; Full members £3.50: Student. ()Al’. [1840 £2.50 (members £2). Roughcast Theatre (‘ompany in their production ofJames Kelman‘s play.
See Feature.
GABARET
For venue details. unless otherwise specilied, please see Theatre section.
GLASGOW '
O BRASSERIE DOMINIQUE Briggait Centre. A newly opened cafe-theatre. promising cabaret and music in a fin-de-siede cafe setting. No details of forthcoming acts confirmed at time of going to press. 0 DRAMA CENTRE
Cabaret Nights Thurs 22—Sat 24 Jan. 8pm. A mixed bag of music. humour and poetry — from sharp feminist music. to poetry from Glasgow poet Albert l’lethora. to traditional folk music. movement and comic sketches from Roughcast Theatre ('o (also presenting The Husker at the Traverse. see Edinburgh).
0 THIRD EYE CENTRE
Hameldaeme Wed 28—Sat 31 Jan. 8pm. £3 (£2). First seen at last year's Mayfest and a sell-out success at the time — a celebration of (ilasgow patois in verse. prose and humour. inspired by Michael Munro‘s bestselling anthology The Putter. Sugar and Spite Tue 3—Sun 8 Feb. 8pm. £3 (£1 .50) and 3pm also on Sat
SWEET SORROW
When Mervyn Willis guest-directs Romeo and Juliet at the Brunton Theatre this month (see Listings), it will be his tirstproduction ot the play— surprisingly, since a large part ol Willis’s impressive careerto date has centred on Shakespeare’s work. As an actor he appeared with Olivier's National Theatre Company in Othello and Hamlet, tor several years he was Artistic Director at the New Shakespeare Company at the Open Air Theatre in London’s Regent Park and recently he has taught Shakespeare at various colleges in the USA (including the original “Fame” collegel). Despite his experience, he manages to retain a ~relreshingly unpretentious and open-minded approach. ‘The more you know, the more you want to do really. From Olivierl learned a lot about Shakespeare’s language— he really understood about the energy required and how to shape speeches, but I have really learned to love Shakespeare through working with students. Working with students teaches you - you realise that you have a lotto learn too. You learn trom anything you do.’ He comes to the Brunton at the invitation ot Artistic Director Charles Nowosielski, who acted under Willis’s direction at Regent's Park, and to whose musical, often lyrical style oi production Willis is extremely
.' sympathetic. Willis’s own production ': ot Romeo and Juliet will use ; synthesised music by New York based
Jeremy Taylor, who composed the music tor his recent US tour of ‘As You Like It’.
‘In Romeo and Juliet obviously it’s important to have music in the dance scene, but we wantto try and use it more strongly, to make music almost
cinematically involved. I suppose we want, through the quality at light and sound, to give the idea at acting in a pool at late - we hope to keep it simple and strong, with music maybe elevating it on to another level..’
Simplicity and clarity and the sense at late will be the main guidelines to Willis’s production and ones that he hopes will emphasise both the play’s timelessness and a tlnal sense of optimism.
‘It is a sort oi political play, about people getting involved in rivalry, butl think the love story is redemptive in the end. To my mind there’s something about Romeo and Juliet- one has to see them as special people, people who have a perception that goes beyond the world they are living in. They are somehow bigger than the people around them, biggerthantheir own times. They are adolescents and they have the courage and clear-slghtedness that you have that time. lthink there's a realism and wisdom learned through the story in the end — I think that’s what Shakespeare’s alter.’ (Sarah Hemmlng)
16 The List 23 Jan — 5 Feb