Theatre
X ILA; l :l 3,56fo CAVE DWELLERS Cumbernauld Theatre, Thu 28 Feb,
then touring COO.
DANCE RIVERDANCE Edinburgh Playhouse, until Sat 23 Mar
00.. Perhaps the reason why the people of
Glasgow can treat asylum seekers with such ostentatious callousness is their capacity to render them exotic. Some will say they are from another world, entirely alien and mysterious, so it’s difficult to feel empathy for their collective plight as fellow humans.
I understand this: as an Edinburgh K , resident, my last visit to Sighthill Dwell of sorrows " star", 0‘ imam; gm: before its Asylum seeker influx made t'ii: i‘gif'l {XiCZKI nor; me feel like David Attenborough. My none-too-safe haven. the interweaving stories of their (1(3i:|(:’. rig; .rmgor; <2‘ God, they have vinegar instead of Trapped in a cave, an old woman persecution to identify them. But in same 1x21." ::::"::-::-" ::'~ sauce on their chips for a start. (Mary McCusker) is joined by a young doing so, her poetic dialogues render 2H2 mu :gm'; :;:;"‘.L_;. t" :; Foreigners do eat weird food, don’t doctor (Helen Devon) and each them ordinary, restoring a lost 2; actual .‘1 "uglier, they? Our capacity to ‘Orientalise’ (as manifests a violent defensiveness humanity to them. -::--"I-:}! tgv‘n‘g t;":: Edward Said would put it) folk from towards the other. A young man is In Gordon Laird’s production for H<2g;;i':li~::-s;s; ::*’ ‘.'."‘.;‘:‘. ()l. cultures like Bosnia, Afghanistan and dragged, half dead, into their cave 7:84 a strong cast is led by Brennan, rim {illiiuf Erisw Weegavia is renowned, and Nicola shelter and tensions escalate further. whose deliberately static :i;i"<::ngi or lv‘i.:;";i<: McCartney’s new play addresses the As the three become lost in the performance creates a singular voice. i 'a: <23. "m; l()l‘§}()’ '.'.'i°.!‘ issue without moralising, creating a caves, far from home after they come Its pauses and hesitations compel us 1m: sweat: :2..: '1 :; mechanism which subverts our close to discovery by the authorities, into a grim, morally ambivalent story ::' ‘:>r'<:-:;§;"gi: ii“, 231.. ‘. <2"; learned capacity to recreate as alien a power struggle develops. of a life blighted by violence. Devon "Aim: m <2'.’.:i<:-"::<:~ 0.. people with whom we have much in Meanwhile, a man (Liam Brennan) conveys a compelling physical ::;a"7i ‘ti: :: i:-::- "g; common. who seems at first to be telling a life presence creating a desperate self- '\’"()(:v\(}(l s; < 5; :23.
McCartney doesn't foist a load of story of mixed innocence and assertiveness in a character whose t"-:: 'ugii; rismzi‘. <>‘ stories about people being racially persecution is, it emerges, being causalities are clearly on show. tgalmi. persecuted in Glasgow upon us. We interrogated by unknown authorities But McCartney’s play is not perfect. know of this already, and should feel about his role in a human trafficking It would benefit from a good deal of shame. Instead, her play takes us to incident. Is he the trafficker the other cutting at times, as its compelling an unknown country, where three three await? Or is his link still closer? epiphanies of human degradation are people from desperate, war-torn McCartney’s script strips its mixed with longeurs and repetitions. situations await, with little other protagonists of identity, reducing A powerful, but slightly flawed night choice, a dangerous passage to a them to nameless voices with only of theatre. (Steve Cramer)
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THE BEAR/THE PROPOSAL X FACTOR DANCE
Partick Annexe, Glasgow, Thu 28 Feb, then touring Paisley Arts Centre, Sat 2 Mar; Brunton Theatre, 00. Musselburgh, Wed 6 Mar 000
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