Theatre 000.. Excellent 0... Good .0. Average 0. Flawed O POOr


Traverse, Royal Lyceum, Theatre

PICASSO AT THE LAPIN AGILE Ramshorn Theatre. Glasgow. Wed 20—Sat

Workshop, Edinburgh. 30 Jun. Children are a paradox at the best of times; but put them in an audience ' 1- r and they become more : contradictory than ever. On the one hand, you have a group of people ; with a limited experience of live theatre, who are thus enthralled by r - ; whatever you put in front of them. .. ; But on the other, you have an easily . . ; distracted rabble who’ll disengage ,r r at the slightest pause and disappear noisily into the farthest corner of Louise Bolton suffers mild percussion as Evelyn Glennie w . _ w .:' : their Sherbert Dibdab. Accepting the " my ' 2' 1 ~ inevitability of both reactions and nearest lap the next. Fear and paced theatricals kept them gripped ' : " w rt :', responding accordingly was the humour also ran through for the most part. For such a wet ~- '- , ., challenge facing all the companies Egnsteatret Gruppe 38’s re-telling of tale, Theater Triebwerk’s Moby Dick ' :" r z 7-. at this year’s Bank of Scotland Hansel And Gretel. Using a white was surprisingly dry. The inner r7 2'. Children’s International Theatre chiffon dress and some clever light workings of Captain Ahab's s. r'. ~v .L --: " Festival. Some were more projection, the Danish duo deranged mind are obviously beyond .'.t 'r 1:0". ' successful than others, but overall captivated their entire audience with the average 10-year-old, and as .' t r r : r' r u r the festival achieved its aim of not the vibrant simplicity of their such the plot lost some of its weight i r : :'~ 7 «,r " only entertaining children for the storytelling. Neither fear nor humour in adaptation. Once again, sharp f?» -v c r r duration of a show, but gently made much of an appearance in performances carried it through '~ 1- -‘ r ~ v ~ ~. I preparing them for adult theatre. Catherine Wheels’ version of but only just. Not so Playing From t rr r: : .- r' .. "w Shows such as The Gruffalo, Frankenstein however. The basic The Heart, the Lyceum’s stage °..r'w' "1 Tr .' '~ ' T' which English theatre company Tall plotline of Mary Shelley’s gothic adaptation of percussionist Evelyn er TL." , l ’, I' . r Stories pitched perfectly at the 3—6- horror came across well enough, but Glennie’s fascinating biography. (fir? .- r . :;r~ t.t r'Tr'r year-old market, introduced children whether the teenage audience saw Cleverly staged, funny, tear-jerkingly c f}'~ l.': r" in to the concept of adaptation. Based beyond the blood-spattered lighting poignant and superbly acted, this w l: ; .- -- r or on Julia Donaldson’s well-loved tale, gels and dramatic soundtrack to the wonderful play was worthy of any w: r I'll v .r.'. r' r. u: the show had them giggling one underlying message is questionable. audience child or adult. l-Err a i'.'.rt, -r r *- minute and scrambling into the But tight performances and fast- (Kelly Apter) ,m'rr run I" f' r tr the tired? : rut "‘err‘.‘. l’al» l’u .r‘ .r’ suMMl n nl vrvm s sr lAKl set AM AN n: >r.r,\r\lct .HN , y]. W, DUNDEE REP SUMMER FESTIVAL PERICLES _,;j H Dundee Rep, Dundee, Fri 8 Jun-Sat 4 Aug. Botanic Gardens, Glasgow, Wed 13-Sat 23 Jun. JV" M 1'” ’_ It all sounds like a hrt of a up off. i or the second year a. y ._ I '6‘, ‘If. or THH‘nrrl it‘l:’,r'i:‘,_ ‘g, running. [)undeeHer)rshostrngatwo rnonthreprrsalot F‘ ' H ' ' " " norr‘raetf’e [lire tn' productions that have already been performed at the venue Iarn Mn/Mwn: Utlrnrv". ' wrthrn the last eighteen months. But llarnrsh ('iltfll. [)undee the futtlltrrtr'l'rr ot trw . Heos (:harrsrnatrc artistic director, has a grand plan. he's ‘33.") Ni w-"t' n, I“, .r' not lust havrng a laugh. 'lne omrrt r,‘ the rm, 'lhere are several reasons for hnngrng hack \.'.ror'k from that art ,rrwr morerr ,e t‘.r’l the last two years during the Summer i estrval." he says. a More rlrotr purl e’te'? 'lhe first rs rnarnlarnrng the company It's quite (}X[)(3llf;l‘~.’(} to or: the last mentor, t'wr Inalntarn so we have to keep the place hr'rngrng In revenue. .Il‘. colrtmarr «Hf he We're also here to shout/case our own talents to the rest of <1. IT )ll'll' 13l”' Scotland. Houses such as the King's rn tdurhur‘gh are Tree men and their play form. since it t,"-Jr‘r‘, urr Interested In shows ot the calibre at Dundee. hut we used .rrfn inf‘. of little toonlyrunashon'xtor threeweekshetorert disappeared Yes. rt'sthat trrneotyear‘agarn; Shakespeare”: therrark. ermo'leu with» th‘r’l forever. HHS way they can not only see the show hut lhrs year. Instead of gorng to the usua: Uremn. why not go oersor‘ a all/i 'v; potentially hook rt as well. It can act as a resource for the wild and see i lexrhle [)eadlock's ottenrzg, .'.’.'ll’;tl takes on a t’, the rrrxwunr wt ‘I're \.‘~.rho!e ot Scotiand.' rarely seen rorrrarrr:e';’ l’e/xrjres contains all the elerr1ents of ‘..'.rrlr;. lr: ‘r And turther afield as well: ‘We'ye got interested parties hrgh adventure. with pirates, assassins and long sea :7“. .er I, Arnerv at 'r coining trorn S\.‘.reden. the United States. Australia. Hungary voyages. as well as a te'.'.' drsturhrng rez'elatrons of incest hur'rour' andllolland. theiurooeansseerntoherrroreinterestedIn and'.'.rornensoldintoprostitution, thiscompany'sere/tits .‘3te.e(;'a'r:er [)on Paterson's / (ill(/()f(:(1/\t.‘f§_ while the Americans and include two prenrous Shakespeares at the Britain/Hr. ar‘ri Australians are definiter looking at lire [Writer Is Ia/ef site specrtrr: style suits this kind of work. It also gives the laxy denr/ens of Edinburgh and Glasgow [)rr'ector Stexe Bottoms stresses the accessrlxlit, the a further opportunity to see some of the hest theatre not cornoarry's work and talks of the 'r’:h, ‘ st,le at the only In Scotland hut rn iurope. rlrrn Ahraharnsl t)t()(illti7.l()lt. '.'.’tl<)sr: costumes were designed h, New Yu'i'

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66 THE LIST ' .