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THEATRE REVIEW
GLAMDUII
As a play, Glamour is an oddity, a 1932 short story by Edna Ferber translated by Chicago’s Shirley Anderson into a kind at theatrical joke.
The story at linda Fayne, glamorous (but not beautiful) star of many a Broadway show, is the story of an actress whose lite is too like her scripts. Whether through sellishness, obsession, or necessity, she is trapped in a ritualised existence of rehearsal and perlonnance.
ller day becomes a pattern for her lite, with no time lor hersell let alone for others. ller lines, unlearned under the pillow on which she tosses and turns, become a metaphor tor her own words as she re-lives the day over and over, never finding it any better.
It would be churlish to say that as a joke, it could do with more ot a punchline. ‘I’his would be to ignore the elegance with which it is carried off and the assurance of Shirley Anderson’s perlormance.
Review star ratins
a: w i t * Unmtssable * * t it Very good
i t it Worth seeing a: * Below average or You’ve been warned
Venue
The Rifle Lodge O|3| 226 5 I 38
Glamour: Shirley Anderson plays the drama queen
As Fayne rushes frantically trom appointment to appointment, Anderson plays the parts ot everyone she comes into contact with. Perlunctory encounters with her husband, daughter, colleagues and pet dog are portrayed with humour and understanding lrom an actress who claims to understand the horror at the alarm clock and dread of ‘the people’ trom her own experience. (Stephen llaysmith)
Glamour (Fringe) Shirley Anderson, Hill Street Theatre ( Venue 41) 226 65%, until 27 Aug, alternating with Big Blonde, 8.45pm, £6 (£5).
Alison Andrews Company
presents
STELLA YOU ARE FUNNY
Two women who think they're in a film. set off on a journey - to find Stella. to change the ending - or both.
IOI
CDMEDYIIEVIEW *‘k‘k
WAY TDD BLDNDE
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Blasting out will} .t\ltlL‘\ and handy tips on I‘IL‘.Z\I iiiiplatits. this all-girl (‘anatlian [no wonder ll they can hag .t that. while hock-naked and sprawled till .I I‘t'.ll\l\lll. II Iltll lltctcls always '( it'o\ cl l‘or -\ (itootn' .i \IIII/ \Iltl“ skll till lllt‘ (It'\[‘t‘l.llt‘ \ll.llI\ ol the unattached
There s the occasional humour lull. hut HtI\ rim llltllltlt ts itlcal lot those struggling through .i had li.lll (lay (Susanna Beaumonti
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**
CARLSDN DANCE COMPANY AND MARIA CAHDDNA DANCE
The stage is lit low. A solo fetnale dancer turns and twists. rises and falls to a dark. grinding instrumental score. She llings sheets of paper across the stage and rolls to the floor. Carlson Dance Company's Ago/nu is an intense passage of dance. An exploration of creative frustrations and its attendant angst. it has its gripping moments. From Spanish choreographer Maria Cardona. there are three short pieces. At times a tad clumsily performed. Cardona's own dance solo is the best of the hunch. The final piece. .‘I ll’um/t'r‘lul Soiree. is a tease on dance-partner etiquette. Performed by four wotnen in sharp suits. it doesn't have the humour to pull it off. (Susanna Beaumont) I Carlson Dance Company and Maria Cardona Dance (Fringe) Springwell House (Venue 32) 346 HUS. until I? Aug. 8pm. £5 (£3).
ng a bad hair day
way too blonde: ideal for those havi
* ‘k ‘k * * BILL BAILEY
l)id Bill Bailey make my head explode with mirth‘.’ No. he didn't. but it certainly threatened to spin on its axis on more than one occasion. I defy anyone to witness his interpretation of Richard (‘layderman performing 'I‘lirt't' ll/t'm/ .llii‘t' without crumpling into tears of glee. Not to mention his unique take on the art of film soundtracks. liven the old comedic chestnut Dr Who is given twenty new twists.
And hlow tne. if he doesn't provide his own pre-show entertainment. ()y. ed. Any chance of a
Bill Bailey warning: this comedian may cause your head to explode
sixth star'.’ 'l‘hought not. (Brian Donaldson) I Bill Bailey (Fringe) Assemth Rooms (Venue 3) 226 2-128. until 3| Aug (Hot 29). 9pm. {8.50/{750 (£7.5()/£().5()l.
Maria Cardona Dance: partner-work
56 The List l(i-22 Aug l‘)‘)(i