Theatre
COMPACT FAILURE Traverse Theatre. Edinburgh. Thu 2-Sat 4 Dec
Staqu
I The interim report for the Cultural Commission begs a number of questions. perhaps the most pressing of which is whether we need a Cultural Commission at all, though this is one which needs amplification on another occasion. For the moment. though. the tentative early findings of James Boyle's committee. which is pretty careful to reach no conclusions at this stage, seem to indicate a couple of themes which need some rumination.
The emphasis on ‘traditional' arts. by which we might infer a kind of indigenous ‘tartan' industry. does give one a sense of mild alarm. While Whispers is happy enough to endorse the idea of such things as Gaelic theatre. as well as the odd. inevitable bit of Burns hyping and tartan flashing, it's important that this does not become an overly important aspect of contemporary Scottish arts. A mature nation has a place for such things. but if this becomes a major theme. there‘s the possibility that we might find some very good quality theatre companies queuing up for funding on projects which are limited to misty-eyed
sentimentalism and longings for the \ ‘Nii =11“? Z i Glens that few Scots have had RUSSELL MALIPHANT COMPANY
much to do with for generations. Dundee Rep' F” 19 NOV
This might play we" to the touriStSv Russell Maliphant’s mantelpiece has acquired a few interesting .
bUt does 't_really relied the nature adornments since his last visit to Scotland in 2001. Having picked up Time » .i .. . . . . .. .
and CO“SC'0US“GSS 0' Out Live and South Bank Show Awards in 2002 and 2003 respectively, the ~ r ~ .- : a .v
ConlemPO'arY SCOt'and? choreographer also won an Olivier Award for Broken Fall, a piece he " ' - ‘ ' -' ' - v' ‘ ' ' v ' ' "S a Single aspect 0‘ the report created for William Trevitt, Michael Nunn (AKA the Ballet Boyz) and Royal
bUt 't ra'ses queSt'OnS that are Ballet star, Sylvie Guillem. Finding hot dance talent to perform in his works
more prOlof‘nd' 'Srl't any 9U'lU'a' has never been a problem for Maliphant. Having graduated from the Royal
Strategy U't‘matelyfdedog'ca'? Ballet School, he went on to dance with the main company before
While there's certainly a need for freelancing with such outfits as DV8 and Michael Clark — building up quite a
greater fund'rlg; and g'Ven th'sl 3 contacts book along the way. So when Maliphant formed his own company
need to scmm'se and render in 1996, there was no shortage of dancers queuing up to work with him.
accountable the use of public One man who has remained constant throughout, however, is lighting
mon'eS' 'l the themes 0” Wh'Ch designer Michael Hulls. Maliphant and Hulls have worked together for over
theatre Workers are funded are set ten years, creating a unique bond between choreography and light, the
dowr.‘ Defer? they Startv doesn’t. latest example of which can be seen at Dundee Rep this week. One Part II
that "m" the" scope- mus afieCt'ng is a solo performed by Maliphant himself to the music of Bach. Two Times
the experlence of you. the I 3 finds three female dancers trapped in a box of light, paving the way for all
aUd'enCez Boyle's commm?e '3 manner of intricate and delicate steps, while Choice uses Asian rhythms to
made-“pi 'n the overwr‘e'm'ng propel five dancers into action. Maliphant‘s first work for a larger group of
malor'ty' 0f people who don’t . dancers, Choice also takes its influence from yoga, t’ai chi and the martial
aCtuafly Work as amStSl SO the" arts-inspired capoeira. (Kelly Apter)
viewpoints might well be too focused on some pre-given notion
of what art is supposed to do in social terms. rather than its more KARL MARX’3 BEARD
open ended process of creation. Arches. Glasgow, Thu 18—Sat 20 Nov, then touring. Whispers. you may havegathered. 1,, ,_. , .. , . .. ,I ,u .. {:5 ,l law
isallforalittlemorepoliticalart, .. .. .. . o .- ; butthistoo.shouldbelefttothe ‘.' .‘. artist. not proscribed byauthorities. g” .. V. ., , , .. ' '. ,' a, ,, . It'sadanger.butlsupposewe‘re “ l ' ' " U " 7 ' " H '
fated to wait and see.
104THE LIST ':‘\ . . L‘- .